KDESTER  SCHGDL  BCDK  OF 

DRAPING 


Geo.  J. Cowan  tmJ  Win  H.  Bates 


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GEO.    J.    COWAN 


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THE  KOESTER  SCHOOL 
BOOK  OF  DRAPES 

A  Complete  Text  Book  and  Course  of 
Instruction   in   Merchandise   Draping 

Compiled  by 

GEORGE   J.    COWAN 

President   Koester   School  of  Window  Dressing 

Author  of  "Show  Window  Backgrounds"  and 
other    Window  Trimming   Books. 

Twelve  years'  experience  in  Dry  Goods  and 
Department   Store   Window  Trimming. 

Lecturer  on  Window  Trimming — illustrated 
with  stereopticon  views  and  original  draw- 
ings. 

Student   of  Chicago   Art   Institute,    1897-98. 

For  ten  years  contributor  of  Window  Trim- 
ming articles  to  the  foremost  trade  papers 
in   America. 

Editor   for   nine   years  of   Wlnflcw  .Trimming 
Section   of  the   Dry  Goods   Krport'er. 
Graduate  of  Kofictjer  School 

AND     ■  •   ■        '■•':■ 
WILL   H.    BATES 

Window  Dressing  Instructor  at  Koester  School 
Ten    years'     Window     Trimming    experience 

in     Dry     Goods,     Shoe      and      Department 

Stores. 
For  five   years   contributor   of  Window   Trim- 
ming articles  to: 

Merchants'  Becord   and    Show   Window. 

The   Shoe  Retailer. 

Dry  Goods  Reporter. 

Drygoodsman,   etc. 
Graduate    of   the    Koester    School    of   Window 

Dressing. 


CHICAGO 

THE   DRY    GOODS    REPORTER 

1913 


c:'?*^'^ 

)^^* 


/"•  ^C.opyright,  1913 
GEORGE   J.    COWAN 


HAMMOND    PRESS 

B     CONKEY   COMPA 

CHICAGO 


To  Albert  A.  Koester 

WHO  has  given  to  Window  Trim- 
mers of  the  World  a  systematic  and 
easily  understood  method  of  drap- 
ing fabrics  so  that  when  displayed  they 
will  give  the  customer  an  idea  of  how 
beautiful  the  goods  will  look  when  made 
up;  who  also  through  his  work,  teaching 
and  writing  has  probably  done  more  than 
any  other  individual  to  help  window  trim- 
mers to  a  higher  perfection  in  all  their 
work. 

THIS    BOOK  IS  RESPECTFULLY 
DEDICATED 


:39529l 


Mummy  Drapes 


INDEX 

PAGE 

Portrait,  Albert   A.    Koester 2 

Portrait,  Will    H.    Bates 3 

Portrait,  Geo.  J.  Cowan 4 

Title    Page 5 

Index    8 

Preface    10 

Early  History  of   Draping 11 

How  to  Handle  Goods 14 

Color   Combinations    in    Draping 15 

Displaying  Wash  Goods 18 

Examples    of    Early    Drapes 20 

Complete  Window  of  Early  Drapes 23 

Later  Examples  of  Early  Drapes 24 

Lessons  in  Draping 

Preliminary    Instruction 37 

Drape  1   30 

Rrape  2  43 

Drape  3   46 

Drape  4   49 

Drape  5  52 

Drape  fi  55 

Drape  7   58 

Drape  8  pi 

Drape  9  fi4 

Drape  10 68 

8 


Index 


Cylinder  Drape   11 71 

Drapes  12,  13,  14 74 

Drape  15 7G 

Drapes   IG,   17,   IS,   10 77 

Drape  20 79 

Slab    Drape    21 80 

Novel  Drapes  22  to  27 82 

Mummy  Drapes  28  to  35 87 

Box    Drape    36 92 

Louis   XVI.   Drape  37 93 

Wall  Drapes  1  to  7 94 

Complete  Wall  Drape  Windows 1 1^> 

Bolt   Drapes 1 1^9 

Furniture   as   Draping    Fixtures 1-2 

Vase  and  Basket  Drapes 126 

Flower    Drapes j28 

Use  of  Accessories 1^^ 

Drapes    for    Tailors |3- 

Draping  on    Forms ^^' 

Early  Shell   Form   Drapes 138 

Drapes  1  to  18 139 

Finishes   for  Tops 145 

Directoire   Shell  Form   Drapes 152 

Hipless   Drapes jjj'j 

Panier  Drapes |^1 

!!!'''!!!!'!!!!!!"!!!'!'!!!''!!!!"!!!  166 


Full    Form   Drapes.. 
Sheath    Drape. 


Directoire    J^' 

Miscellaneous   Form   Drapes 176 

Arm  Form  Drape 186 

Three  Forms  in  One 187 

Mermaid    Drapes 188 

Evening   Gown    Drapes 192 

Comic  Draping 201 


Panier  Drapes 

Flannellette  Drapes. 


218 

220 


Children's   Form   Drapes 

Wax  Figure  Drapes 222 

Waist  Form  Drapes 244 

Skirt    Form    Drapes ^^^ 

Live  Model  Drapes ^JJ 

The  Evolution  of  a  Drape ^J; 

Small  Town  Drapes ^Jj 

How  to  Lay  Out  Complete   Windows ^'^7 

Window  Plans  1  to  17 ^O;) 

Background    Draping ^' ■", 

Interior    Draping ^j^^ 

German    Drapes • '    ^ 

English    Drapes    ^ "J 

Australian   Drapes '  ^" 

Danish    Drapes ^^ 

Japanese  Drapes ^. 

Complete  Window  Trims •  •  • ^^^ 

Over  100  Illustrations  of  Complete  Windows,  running  from  page  324  to 41U 

Fashion   Doll  Drapes .. 

The  Later  Drapes ^^^ 


Pref 


1 


rerace 


[T  has  been  my  good  fortune  to  be  closely  associated 
for  many  years  with  Mr.  Koester  and  with  Mr. 
Bates — you  might  say  we  have  grown  up  together 
in  the  Window  Trimming  work. 

I  collaborated  with  Mr.  Koester  in  getting  out  his 
book,  "The  Koester  System  of  Draping,"  having 
made  all  the  drawings  for  this  the  first  book  ever 
published  on  the  subject. 

This  first  book  on   Draping   is   now   out    of   print, 

and  because  of  my  connection  with  it  and  my  intimate 

I  III  knowledge   of  the    subject,   it  has  fallen  to   my  lot  to 

compile  this  second  and  far  more  complete  book  on 

the  subject  of  Draping. 

Because  of  the  great  success  of  Mr.  Koester's 
methods  of  draping  it  became  necessary  for  him  to 
have  help  in  teaching  this  work  in  the  school  which 
he  founded. 

Mr.  Will  H.  Bates,  a  former  pupil  of  Mr.  Koester's, 
was  chosen  by  him  for  this  work  because  of  his  really 
wonderful  ability  along  this  line. 

It  is  conceded  that  these  two  men  are  the  most 
talented  draping  experts  of  our  day. 

This  book  contains  a  very  complete  collection  of 
practically  all  the  important  work  of  these  two  mas- 
ters of  Draping  to  which  is  added  the  best  work  of 
many    other   well   known   trimmers  and  of  the  author. 


i-i 


EARLY   HISTORY   OF   DRAPING 


ONJ*2  cannot  have   a  complete  knowledge  of  any  subject  unless  he  knows 
somethinf^-  about  what  has  been  done  along  this  particular  line  in  the  past. 

A  knowledge  of  previous  efforts  in  Draping,  as  applied  to  window 
display,  will  not  only  be  of  much  help  to  a  trimmer,  but  should  also  hold  much 
of  interest. 

Naturally  the  first  attempt  at  draping  was  merely  the  effort  on  the  part  of  a 
clever  tradesman  to  interest  a  possible  customer  in  his  wares  by  opening  up  the 
pieces  of  goods  and  hanging  them  up  in  such  a  way  that  the  beauty  of  design 
and  texture  could  be  easily  seen. 

We  find  evidences  that  this  type  of  display  was  in  use  thousands  of  years 
before  our  own  era. 

I  show  on  this  page  an  illustration  of  how  fabrics  were  draped  in  the  ba- 
zaars of  the  Orient  hundreds  of  years  ago. 

The  early  history  of  the  world  is  the  history  of  the  people  of  Egypt,  and  what 
we  broadly  term  the  Orient.  Their  method  of  shop-keeping  has  not  changed  per- 
ceptively for  thousands  of  years,  so  that  in  showing  you  this  illustration  of  a 
bazaar  of  the  Orient  you  can  imagine  yourself  looking  at  the  way  draping  was 
done  thousands  of  years  ao;o. 

In  those  days  glass 
was  u  n  know  n,  so 
there  were  no  show 
windows  of  g- 1  a  s  s. 
The  show  window 
was  merely  the  open 
end  of  a  booth,  or 
stall.  The  booths 
were  grouped  togeth- 
er into  a  bazaar  the 
same  as  our  stores 
are  grouped  together, 
and  called  "The  busi- 
ness d  i  s  t  r  i  c  t,"  or 
■'Down  town." 

So,  I  show  you  this 
bazaar  with  the  beau- 
tiful    stuffs     of     the 

Orient  hung  up  on  rods  or  cords  so  as  to  catch  the  eye  of  the  passer-by 

11 


of  the  Orient,  hundreds  of  years  old,  showing  how  fabrics  were 
draped  along  the  walls  similar  to  methods  in  vogue  a 
thousand  years  or  more  ago. 


Early   Histohv   of   Dhaimnc. 


The  next  tangible  trace  of  early  draping  that  I  have  been  able  to  find  was 
in  an  old  book  printed  in  the  year  1840,  and  called  "Old  London  Shop  Fronts." 
This  book  is  illustrated  with  steel  engravings,  colored  by  hand,  and  was  intended 
to  interest  the  architect  who  was  interested  in  planning  store  fronts.  It  uncon- 
sciously serves  our  purpose,  because  I  find  several  of  the  fronts  are  trimmed 
with  dress  goods  and  silks,  and  thus  gives  us  a  very  correct  idea  of  how  draping 
was  done  nearly  one  hundred  years  ag-o  in  London.  Thus  you  will  see  that  the  drap- 
ing of  fabrics  had  not  developed  very  much  In  thousands  of  years.  And  after 
reading  this  book  you  will  find  that  practically  all  the  real  progress  in  this  work 
has  been  during  the  last  twenty-five  years. 


An  old  Loii(l(iii    .Slioj)   over  TTi  years  old   showing  the  use  of  small  panes 

of   glas.s,    before    plate   glass   was    invented.      Notice 

the   dress  goods   drapes  In  the  windows. 

Koestcr,  because  his  natural  ability  in  thi^ 

12 


It  was  just  at  the 
beginning  of  this  pe- 
riod that  Mr.  Albert 
A.  Koester  realized 
t  li  e  possibilities  o  f 
wliat  could  be  done  in 
tlie  draping  of  fab- 
rics in  such  a  way 
that  the  complete 
drape  would  suggest 
or  imitate  a  complet- 
ed gown,  the  advan- 
tage being  that  the 
customer  would  not 
only  see  the  design 
and  texture,  but 
would  see  how  this 
particular  fabric 
would  look  w  h  e  n 
111  a  d  c  up,  or.  bet- 
t  e  r  still,  would 
suggest  to  her  how  to 
make  it  up.  It  is 
more  than  probable 
that  other  trimmers 
had  something  to  do 
with  this  develop- 
ment, but  most  of  the 
credit  must  go  to  Mr. 
line  of  work  made  it  very  superior, 


Eahly   History  of  Dhaitnc; 


and  because  he  early  tried  to  help  other  trimmers  to  a  thoroii<^h  knowledge  of 
draping. 

ITe  did  this  by  fovmding  a  window  trimming  school  in  Cjermany  and  illus- 
trating and  explaining  how  to  do  draping  through  a  series  of  articles  appearing 
in  German  trade  papers,  and  later  publishing  a  set  of  window  trimming  books 
entitled  "Die  Kunst  of  Schaufenster  Dekoration." 

Practically  everything  worth  while  in  up-to-date  draping  f(jr  show  windows 
has  developed  since  1890,  and  it  is  possible  to  trace  very  easily  the  ])rogress  of 
the  work  since  that  time. 

There  is  much  of  this  work  that,  to  us  of  the  present  time,  seems  woefully 
out  of  date,  but  this  is  only  true  as  regards  the  fashion  element  that  enters  into 
the  drape  and  form. 

Fashions,  as  we  all  know,  are  continually  changing,  but  it  is  also  true  that 
generally  within  a 
period  of  ten  years 
the  same  style  will 
come  back  again  for 
at  least  a  short  peri- 
od. 

Because  of  this,  I 
have  thought  it  wise 
to  include  in  this 
book  certain  of  the 
drapes  of  almost 
every  year  and  of 
every  change  of 
fashion.  Of  course, 
it  has  been  impossible 
to  get  all  of  them, 
but  I  really  consider 
myself  fortunate  in 
being  able  to  get  as 
much  as  I  have. 

Thus,  I  not  only 
can  show  you  an  al- 
most complete  rec- 
ord of  the  develop- 
ment of  draping,  but 
the  greater  percent- 
age of  these  drapes  are  usuable  today,  and  many  others  are  apt  to  come  back 
in  style  almost  any  time. 

13 


One  of  the  first  plate  glass  fronts  in  London  about  65  years  ago. 
fabrics  are  here  piled  in  the  windows  and  several  pieces 
are  draped  in  one  corner  of  the  farther  window. 


HANDLE  THE  GOODS  CAREFULLY 


IF  YOU  have  ever  been  behind  the  connter  you  can  appreciate  having  goods  brought  to 
your   deparUncnt   that   have  been   used   in   the   windows — faded,  mussed  and   soiled.     A 

good  deal  of  this  is  from  mere  carelessness,  leaving  them  in  the  window  too  long,  walk- 
ing on  them,  not  keeping  the  floor  of  the  window  clean,  etc. 

In  fact  T  have  seen  trimmers  working  with  white  goods  who  had  such  dirty  hands  that 
they  would  soil  the  goods  wherever  touched. 

A  really  good  man  has  the  interest  of  the  store  so  much  at  heart  that  these  things  do 
not  occur.  Y«u  must  know  that  this  means  a  big  loss  on  the  goods  in  the  course  of  a  year, 
and  the  less  you  cost  the  firm  the  more  yon  arc  worth  to  them. 

Many  trimmers  when  they  go  into  a  window  do  so  with  their  stocking  feet,  others  have 
slippers  made  of  felt  to  slip  over  their  shoes,  Init  about  tb.e  handiest  thing  is  the  fleece  lined 
bedroom  slippers  made   from  the   same  material   as  fleece  lined  underwear. 

Do  not  let  goods  of  a  dainty  chaincLer  stay  in  the  windows  so  long  that  they  are  all 
faded  out  and  almost  rotted  by  the  heat  of  the  sun.  And  do  not  let  a  wash-goods  trim  stay 
on  the  ledge  so  long  tliat  it's  an  ad   for  real  estate  instead  of  dry  goods. 

Do  not  step  all  over  the  goods,  either,  while  you  are  working  with  them,  or  after  you 
have  them  arranged.  If  you  really  must  step  on  them,  have  your  shoes  encased  in  slippers, 
socks  or  cloth,  as  mentioned  above. 


COLOR   COMBINATIONS   IN    DRAPING 

Importance  of  Proper  Comuinations — -Jnfeuenck  ox    riii';   Huyer 

THE  old  proverb  about  tlic  bending-  of  the  twig  to  incline  the  tree,  is 
only  one  version  of  the  fact  that  man  is  a  creatnre  of  circumstance, 
on  all  sides  surrounded  by  forces  which  mold  him  into  what  he  is  and 
governs  his  actions. 

IJeauty  is  a  thing  from  which  much  enjoyment  is  obtained,  and  when 
one  is  pleased  with  the  beauty  and  harmonious  coloring  of  a  display,  their 
mind  is  more  apt  to  desire  the  things  of  beauty  that  are  in  the  display.  The 
love  for  the  beautiful  is  subconscious,  therefore  this  unconscious  pleasure  is 
apt  to  be  considered  a  real  desire  for  the  article  itself. 

Beauty  of  form  and  color  play  their  part  in  all  development.  That  color 
has  the  power  to  influence  is  shown  in  the  fact  that  reel,  which  represents 
one  extreme  of  the  visible  spectrum,  is  a  color  which  excites  the  combative 
instinct,  and  that  violet,  which  represents  the  other  end  of  the  scale  of  impres- 
sions, is  a  color  which  depresses  instead  of  excites — the  "reason  why"  of 
this  fact  has  never  been  explained.  Yet  the  ancients  recognized  it  by  giving 
to  red  the  attributes  of  war,  and  to  purple  the  attributes  of  mourning,  while 
white  meant  purity. 

When  color  can  have  such  influence,  and  nature  has  guarded  us  against 
its  influence  by  clothing  herself  with  the  neutral  color,  green,  which  is  mid- 
way between  red  and  violet,  how  much  more  influence  will  your  displavs 
have  upon  the  mind  of  the  person  who  is  brought  in  contact  with  them  if 
they  are  planned  with  some  understanding  as  regards  color  combinations  and 
harmony,  and  with  some  thought  as  to  whether  background  and  display  will 
please  and  be  in  perfect  taste  with  each  other. 

Possibly  if  you  look  back  at  some  of  your  work  you  will  realize  that 
some  of  your  displays  were  just  "put  in"  and  you  know  the  color  was  not 
given  a  thought.  But  as  thought  is  necessary  for  the  most  successful  work, 
plan  your  every  display  with  the  idea  of  using  every  bit  of  knowledge  you 
possess  to  the  greatest  possible  advantage. 

Color  and  its  relation  to  window  trimming  presents  a  problem  that  is 
pleasing  to  some  and  very  complex  to  others.  Nothing,  perhaps,  goes  so 
far  to  make  or  mar  your  fabric  display  as  the  use  or  abuse  of  color.  You 
will  realize  the  truth  of  this  when  you  see  a  window  that  disregards  the 
laws  of  harmony.     To  a  sensitive  e3^e  it  is  no  less  than  appalHng. 

COLOR    INFLUENCE 

Without  going  into  the  theoretical  side  of  the  question,  we  may  admit 
at  the  outset,  that  primarily,  color  is  but  an  appeal  to  one's  emotional  being, 
and  that  it  exists  because  of  something  in  man's  very  make-up  that  needs 
and  demands  it.  Conversely,  the  influence  of  certain  colors  is  so  undeniable 
that,  consciously  or  unconsciously,  according  to  the  sensitiveness  of  the  indi- 
vidual, this  influence  is  felt — a  fact  well  worthy  of  the  most  careful  consid- 
eration. 

15 


Color  Combinations  in  Drapes 


Take,  for  example,  red.  This  is  a  color  that  should  be  used  advisably, 
and  for  accent  rather  than  in  large  surfaces.  Nature  is  here,  as  in  all  things, 
a  good  criterion,  and  it  is  her  invariable  rule  to  use  the  intense  colorings  but 
sparingly.  How  delightful  these  bright  notes  are  in  a  cluster  of  berries, 
perhaps,  or  in  the  gorgeously  tinted  leaves  that  the  first  Winter  winds  send 
scurrying  across  the  gray,  cheerless  sky. 

Red,  then,  is  suggestive  of  warmth  and  cheer;  it  strikes  the  note  of  the 
fire's  glow;  it  is  the  danger  color — aggressive  and  self-assertive,  inciting  lo 
action  rather  than  repose. 

It  is  a  color,  therefore,  that  should  be  avoided  as  much  as  possible  in 
Summer  displays,  and,  whenever  used,  in  a  great  mass.  In  choosing  shades 
of  red,  remember  that  terra  cotta,  maroon  and  the  deeper  crimson  are  much 
less  violent  than  the  vermilions,  and  more  pleasing  than  the  reds  with  a 
purple  cast. 

Unless  you  are  a  master  hand,  keep  the  color  simple.  Consider  the 
special  needs  of  each  color — the  relation  of  one  color  to  another.  Select 
the  colors  with  an  appreciation  of  their  individual  values — greens  wherever 
rest  and  repose  is  to  be  sought  for,  for  green  is  the  color  of  all  colors  that 
Nature  has  chosen  to  refresh  and  restore  the  tired  eye. 

YELLOW    AND    BLUE 

Yellow  is  invaluable  wherever  there  seems  to  be  a  lack  of  cheer,  for 
yellow  is  a  sunshine  color,  and  brings  gladness  and  brightness  with  it. 

Should  a  display  be,  by  reason  of  its  location,  sunny  and  bright,  there 
is  a  chance  to  introduce  one  of  the  soft  old  blues,  which  are  always  charming. 
Any  bit  of  yellow  or  rose  coloring  will  take  away  any  little  coldness  that 
the  blue  suggests.  Pink  is  always  a  prime  favorite  in  windows  showing 
dainty  goods. 

The  proper  use  of  color  entails  not  only  judgment  and  thought,  but 
some  intelligent  knowledge  of  the  subject  as  well.  For  some,  their  indi- 
vidual taste  seems  to  be  guide  enough,  but  to  those  who  have  not  this 
unerring  instinct  in  the  choice  of  color,  we  advise  that  they  keep  close  to 
the  beaten  path.  One's  windows  are  a  poor  place  for  much  experimenting, 
so  be  wide-awake  to  the  best  that  has  been  done  by  other  trimmers. 

These  color  suggestions  are  especially  worth  knowing  by  everyone  who 
works  about  the  silks  and  dress  goods  stock  and  by  the  one  that  puts  in 
the  displays  of  these  goods. 

DO  NOT  LET  YOUR  COLORS  QUARREL 

We  herewith  give  a  few  color  combinations  that  will  help  you. 

"White  contrasts  with  black,  and  harmonizes  with  gray;  white  con- 
trasts with  brown,  and  harmonizes  with  bufif;  cold  green  contrasts  with 
crimson,  and  harmonizes  with  olive ;  warm  green  contrasts  with  crimson 
and  harmonizes  with  yellow ;  green  contrasts  with  colors  containing  red, 
and  harmonizes  with  colors  containing  yellow  or  blue;  orange  contrasts 
with  purple,  and  harmonizes  with  yellow;  orange  requires  blue,  black,  purple 

16 


C.OI.OK   ('OMBINATIONS    IN    DhAI'KS 


or  dark  colors  for  contrasts,  and  warm  colors  for  harmony;  citrine  contrasts 
with  pnrple,  and  harmonizes  with  yellows ;  russet  contrasts  with  green,  and 
harmonizes  with  red;  gold  contrasts  with  any  dark  color,  but  looks  richer 
with  purple,  green,  blue,  black  and  brown  than  with  the  other  colors.  It 
harmonizes  with  all  light  colors,  but  least  with  yellow.  The  best  harmony 
is  with  white." 


CHROMATIC  COMBINATIONS 

Colors  That    May  Be  Used  Together  to    Produce   Harmonious  Effects 

The  following  table  of  harmonizing  colors  will  be  found  useful.  The 
list  comprises  all  the  principal  colors,  and  with  them  are  given  the  shades 
and  tints  that  may  be  used  with  them.  This  is  a  very  complete  list  and 
is  especially  good  for  reference : 

Brown — Mace  yellow,  nile  green,  light  blue,  maroon,  pinkish  purple, 
shrimp  pink,  bufif,  black,  gold,  dark  green,  russet. 

Black^ — Yellow,  grey,  gold  brown,  light  green,  violet,  light  blue,  red, 
chestnut,  copper,  drab,  olive. 

Dark  Blue — Orange,  light  yellow,  sky  blue,  tan,  dove,  white,  gold, 
violet. 

Light  Blue— Dark  orange,  golden  brown,  red,  black,  grey,  pink,  light 
green. 

BufT — White,  yellow,  ochre,  red,  brown,  grey,  orange,  violet. 

Citrine — ^Yellow,  orange,  white,  buff. 

Chestnut — Red,  black,  yellow. 

Chocolate — Raw  umber,  red,  black. 

Copper — Red,  yellow,  black. 

Dove — White,  vermilion,  blue,  yellow. 

Drab — White,  yellow  ochre,  red,  black. 

Lavender — Grey,  purple,  tan. 

Maroon — Orange,  brown. 

Olive — Orange,  green,  blue,  l)lack,  yellow,  white,  red. 

Orange — Grey,  maroon,  blue,  olive,  black,  green,  red,  white,  buff,  pur- 
ple, tan. 

Purple — Yellow,  dark  red,  lavender,  rose,  citrine,  dark  green,  brown, 
gold,  orange,  cream,  white. 

Russet — Red,  yellow,  orange,  brown,  white. 

Red — Olive,  yellow,  white,  dark  green,  violet,  sky  blue,  dark  red,  black, 
buff,  chestnut,  copper,  drab,  grey,  pink,  purple,  orange,  russet. 

Tan — Dark  blue,  salmon  pink,  turquoise  blue,  lavender,  light  green, 
white. 

Violet — Purple,  red,  buff,  yellow,  dark  green,   blue,  white,  black. 

White — Blues,  orange,  pea  green,  yellow,  violet,  buff,  pink,  dove,  olive, 
drab,  gold. 

Yellow — Dark  purple,  dark  green,  red,  black,  yellow,  violet,  dove,  brown, 
buff',  chestnut,  copper,  grey,  white,  olive,  light  green,  russet,  blue. 

17 


DISPLAYING  WASH  GOODS 

Some  Suggestions  for  Showing  White  and  Printed  Goods— The  Arrangement  Shoui.h 

Be  Loose  and  Fluffy  to  Bring  Out  the  Airy  Lightness 

of  the  Fabrics — Color  Combinations 

THE  finer  kinds  of  figured  wash  goods  are  subject  to  the  same  treatment  as  some  kinds 
of  silks — foulards  for  instance.  With  their  showy  and  artistic  colorings,  they  are  in 
themselves  sufficiently  decorative,  and  only  judicious  arrangement  is  required  to 
bring  out  their  fullest  beauties.  On  account  of  their  light  gauzy  nature,  wash  dress  fabrics 
require  a  broad,  easy  treatment.  They  are  shown  to  the  best  advantage  when  arranged  in 
a  light,  loose  manner.  There  must  l)c  no  stiffness  or  formality.  Drape  the  goods  in  long 
sweeping:  folds  and  billowy  ruchings  and  carefully  avoid  short  l)roken  linos. 


A  window  may  be  made  beautiful  with  ligurcd  wash  goods,  using  only  straiglit  upriglits 
and  T  stands  for  draping.  First  cowr  the  stands  with  while  cambric,  tlun  from  tlie  top 
drape  the  goods  in  loose  folds  well  away  from  the  stand  so  the  liglit  can  shine  through  show- 
ing the  airy  lightness  and  semi  transparency  of  the  fabric.  Tlie  principal  charm  of 
summer  wash  goods  lies  in  their  light  airy  character,  and  to  show  tbeni  properly  this 
quality  must  be  brought  out.  This  may  be  accoinplislied  l)y  taking  a  fold  of  the  goods 
and  draping  it  in  a  long  sweeping  curve  to  sonie  point  high  up  on  the  background  or 
at  the  side  of  the  window. 

18 


Displaying  Wash  Goods 


The  better  class  ,uf  suuuner  wash  goods  are  so  elegant  in  design  and  of  so  fine  a 
texture  that  a  draping  form  is  required  to  bring  out  their  fullest  beauties.  In  most  windows, 
at  least  one  draping  form  should  be  used.  In  draping  a  furm  with  light  summer  goods,  the 
same  rule  holds  as  in  draping  a  stand,  i.  e.,  drape  the  goods  loosely.  The  lines  of  the  form 
should  be  suggested  rather  than  shown. 

Because  summer  wash  goods  are  comparatively  inexpensive,  they  frequently  receive  less 
care  in  treatment  than  they  deserve  at  the  hands  of  many  trimmers.  The  trimmer  is  careless 
and  slights  the  arrangement  because  he  does  not  think  that  low  priced  goods  are  worth  the 
care  and  study  necessary  to  make  a  good  display.  That  idea  is  very  wrong.  No  matter 
what  is  to  be  displayed,  the  decorator  should  never  permit  himself  to  be  careless. 

Just  as  with  silks  and  other  expensive  goods,  summer  wash  fabrics  must  be  treated 
with  the  greatest  care  and  judgment  to  get  the  proper  color  effects.  The  designs,  mostly 
floral,  are  delicate  and  artistic  and  the  colors  beautiful,  but  it  is  very  easy  to  make  mistakes 
and  get  the  wrong  colors  together  in  such  a  manner  as  to  spoil  the  display  completely. 
Everything  depends  upon  the  trimmer's  taste  and  judgment.  He  must  be  able  to  select  the 
proper  color  harmonies  and  to  make  the  right  arrangement  with  regard  to  line  and  form. 

Some  charming  effects  can  be  worked  out  by  using  goods  having  the  same  general  floral 
design.  For  example,  a  very  attractive  window  could  be  made  by  using  goods  showing 
nothing  but  rose  designs.  There  could  be  large  roses,  and  small  ones  and  rose  buds,  roses 
single  and  roses  in  groups.  The  general  eft'ect  of  the  whole  window  would  be  pink  and 
white.  To  give  tone  to  this  display  pink  ribbon  and  white  lace  should  be  used  judiciously. 
A  little  black  velvet  ribbon  should  also  be  used.  This  might  be  used  in  the  form  of  small 
knots  or  arranged  in  combination  with  the  pink  ribbon.  A  bunch  of  natural  roses  in  a  high 
cut  glass  vase  might  be  added  to  this  display.  In  the  same  way  a  violet  window  might  be 
trimmed,  using  only  white  goods  with  violet  designs  of  different  kinds.  The  supplementary 
colors  for  a  violet  window  should  be  black  in  combination  with  either  pale  green  or  apricot, 
used  in  a  manner  similar  to  that  suggested  for  the  rose  window. 

White  wash  goods  may  be  trimmed  over  white  or  colored  linings.  If  a  color  is  desired 
it  may  be  pale  blue,  pink,  light  yellow,  violet  or  any  other  light  shade,  but  no  more  than 
one  color  should  be  used.  To  add  tone,  ribbon  of  the  same  color  as  the  lining  may  be  used 
with  lace  over  it.  If  white  goods  are  draped  over  white  lining,  any  light  colored  ribbon 
may  be  used  to  set  it  off.  If  a  draping  figure  is  used,  the  colored  ribbon  may  be  knotted 
at  the  front  of  the  form  with  lace,  the  ends  of  both  extending  to  the  floor. 

Decorators  commonly  fall  into  error  when  displaying  dress  accessories  such  as  fans, 
gloves,  parasols,  etc.  To  be  perfect  a  display  must  be  consistent— that  is,  the  goods  must 
go  together  logically.  As  an  example,  it  would  be  incorrect  to  show  evening  gloves  with  a 
street  hat  or  to  show  gowns  for  day  wear  with  evening  fans,  etc.  Goods  must  be  shown  as 
they  are  worn  and  to  do  this  the  trimmer  must  follow  the  styles  closely. 

19 


EXAMPLES    OF   EARLY    DRAPES 


DRAPE    1 


Tl  i  E  first  recorded  drapes  that    1   1 
by  Mr.  Albert  A.  Koester  and 
years  ago. 
Tliese  drapes  will  hold  iiiiuh  of  ii 
ested  in  this  work,  because  lu-  will   sci 


lavc  I 
])rint( 


.en  al)lc  to  trace  are   some  that  were  designed 
d  in  Germany  in  the  neighborhood  of  twenty 


t crest  to  every  window  trimmer  who  is  at  all  inter- 
in   lliL-se  early  attempts  at  draping  the  birth  of  our 
esent  day  system  of  draping,  commonly  called  the 
Koester   system. 

There  are  many  ideas  contained  in  these  early 
diapes  that  will  be  most  helpful  even  at  the  present 
(lay  for  those  trimmers  in  small  stores,  who  do  not 
h.ive  much  to  work  with  and  who  are  ambitious  to 
t^il   experience. 

These  drapes  will  also  be  of  help  to  the  be- 
ginner as  they  are  easily  made  and  a  knowledge  of 
v  to  do  some  of  these  drapes  will  be  helpful  in 
more  fully  understanding  the  more  elaborate  drapes 
oi  even  the  more  up-to-date  simple  drapes  of  the 
pi  esent  day. 

The  drawings  that   illustrate  these  drapes  have 
been  very  carefully  planned  out  so  that  every  step 
taken   to  produce  the  drape  will  be   clearly  under- 
^^^-  ^  -^'S-  ^  stood  by  the  trimmer. 

This  is  also  true  of  every- 
thing shown  in  this  entire 
l)ook.  This  makes  it  a  real 
text  book  on  draping  as  well 
as  a  history  of  draping. 

Our  first  drape  is  made 
over  a  home-made  stand  as 
shown  in  Figs.  1  and  2.  As 
will  be  noticed  this  stand  has 
a  top  and  bottom  made  of  half 
circles  of  wood,  the  top  small- 
er than  the  bottom. 

Three  strips  of  wood  (lath 
will  do)  about  three  feet  long 
serve  to  hold  together  the  top 

and     bottom     and     over     this  ^'^  ^  ^*s-  ^  " 

framework    is    fastened    a    covering   of   carpet    paper,    brislol    board 
Fig.   1   shows  the  back  of  this  draping  stand  and  clearly  indicate 
2  shows  the  front  of  the  stand. 

Next,  the  front  of  this  stand  should  be  covered  over  with  a  layer  of  cheap  white 
muslin  so  that  should  thin  goods  be  shown  over  the  stand  none  of  the  paper  covering 
would  show  through. 

You  are  now  ready  to  proceed  with  the  drape  and  should  first  cover  the  stand  over 
with  a  thickness  of  the  goods  you  are  going  to  use  in  the  drape. 

'20 


Fig.  5 
r    other    heavy   paper, 
its  construction.     Fig. 


Examples  of  Early  Dhapf.s 


Fiist 


Fig.  3  shows  the  next  step  and  this 
clearly  indicates  how  one  fold  of  the 
goods  has  been  so  arranged  that  it 
makes  an  inverted  cornucopia  in  the 
center  of  the  stand. 

Fig.  4  shows  how  a  second  similar 
arrangement  of  the  goods  is  placed  at 
one  side  of  the  center  and  in  Fig.  5  is 
shown  how  a  third  arrangement  similar 
to     the     two     already    illustrated     com-  Fig.  6 

pletes  the  main  body  of  the  drape  which 
is  to  be  finished  off  at  the  top  with  pointed  puffs. 

Fig.  G  clearly  indicates  how  these  puffs  are  made, 
take  the   end  of  a  fold  and  plait  it  diagonally  across  the  good^ 
and  you  have  the  puff  as  indicated  in  the  lower  drawing  in  Fig  (! 
This  is  then  pinned  on  the  top  of  the  stand  and  four  othei   puff'- 
added  to  complete  this  drape,  that  we  will  call  "Drape  1." 

After  this  drape  has  been  successfully  accomplished  tlu 
window  trimmer  will  find  that  all  that  he  has  learned  in  tlii'- 
one  drape  will  come  in  handy  in  hundreds  of  other  drapt  - 
that  he  will  make  later  on. 

This    same    drape    can    be    used    for   practically   all   lines 
of  cotton  goods  and   silks.     Very  few   woolen   goods  could   be   used  1 
possess  enough  body  or  stiffness  to  be  successful  in  making  the  puffs. 

DRAPE    2 

In  this  next  drape  I  illustrate  what  I  mean  when  I  said 
ing  Drape   1   would  come  in  handy  in  many  other  drapes." 

Here  you 
make  as  the  foun- 
dation of  the  drape 
the  same  stand  and 
the  same  draping  of 
fabric  on  the  stand. 
The  only  change  is 
in  the  puff  at  the 
lop.  Here  we  have 
a  single  large  ro- 
sette puff  that  changes  the  appearance 
.nf  the  entire  drape  very  much. 

This  rosette  puff  is  made  by  first 
taking  about  four  yards  of  the  goods 
at  the  end  of  the  cloth  and  doubling 
it  through  the  center  and  then  folding 
it  back  and  forth  into  about  six  layers. 
In  Fig.  1  I  show  the  trimmer  start- 
ing in  at  one  end  of  these  folds  to 
folds  along  the  edges  that  are  folding. 


do    not 


n  niak 


gather  ,or  plait  the 

thus  leaving  the  selvage  free. 

When  the  entire  length  of  the  fob 
them   and   then   driven   into   the  top   of 


;  licen   galherc 
^land,   leaving 


the 


.getlier 
goods 


Drape  2 


pm   IS   ru 
s    shown 


in    F 


EXAMPLICS    OF    EaHLY    DhAI'KS 


DRAPE    3 

IN  l^RAPIi  ."!  the  same  stand  will  he  used,  thus  showing 
that  there  are  a  great  numhcr  of  drapes  that  can  be  de- 
veloped on  any  one  stand  or  form. 

I  will  however  show  that  a  completely  new  drape  has 
con  made,  both  as  regards  the  drape  on  the  stand  and  the 
uffs  used  on  the  top. 

Fig.  1  shows  the  stand  having  been  covered  over  with  a 
-single  thickness  of  the  cloth  and  the  inverted  cornucopia 
placed  at  the  extreme  side  of  the  stand  instead  of  in  front  as 
n  the  two  former  drapes. 

Fig.  2  shows  how  you  continue  this  ar- 
rangement until  three  of  them  have  been 
placed  on  this  same  side  of  the  stand,  thus 
completing  the  lower  part  of  the  drape. 


Fig.  2 

The  next  thing  to  be  considered  is  the 
series  of  five  puffs  used  on  top  of  the  stand. 
These  puffs  are  the  most  easily  made  puffs  of 
any.  All  you  need  do  is  to  fold  your  goods 
double  and  then  gather  them  up  as  in  Fig.  3 
at  the  right  distance   from  the   fold. 

The  shnrt  or  small  pulT  is  made  by  gath- 
ering the  goods  up  close  to  the  fold  and  the 
larger  pufTs  are  made  by  gathering  the  goods 
farther  back. 

I  bring  this  point  to  your  attention  here 
as  the  small  and  large  pufifs  arc  so  clearly  in- 
dicated in  the  top  of  Drape  3,  and  this  shows 
how  attractively  they  can  be  combined  in 
finishing  ofT  the  top  of  this  style  of  drape 
which  was  in  vogue  for  many  years  anion;; 
the  trimmers  of  ten  to  twenty  years  ago. 

22 


Fig.  3 


COMPLETE  WINDOW  OF  EARLY  DRAPES 

IT  IS  with  a  good  deal  of  interest  that  the  window  trinmicr  of  the  present  day  can  look 
at  the  above  illustration  and  realize  that  it  is  over  twenty  years  old — older  than  some 
of  the  younger  trimmers  who  arc  already  adepts  in  every  pliasc  of  window  work. 

This  window  is  interesting  from  many  angles.  First  it  shows  you  one  style  of  drape 
that  was  in  use  at  that  time,  and  secondly  it  shows  how  tlicse  drapes  were  arranged  in  a 
complete  window  using  a  series  of  steps  or  platforms  on  the  door,  and  thirdly  we  get  an 
idea  of  a  decorative  background. 

This  background  was  made  out  .of  a  heavy  plain  cloth^probalily  the  same  cloth  as  is 
displayed  in  the  drapes.  This  background  is  finished  off  at  the  top  in  a  very  clever  decora- 
tive border  of  ribbons  and  bows. 

This  same  ribbon  idea  is  carried  out  in  connection  with  each  drape,  thus  making  a 
most  harmonious  decoration  and  one  that  holds  the  entire  display  together. 

Notice  how  the  same  drai^es  are  used  all  the  way  through  the  wdndow,  the  only  differ- 
ence being  that  several  of  the  drapes  arc  reversed  in  order  U)  1  rcak  tiic  monotony  and  also 
in  order  to  get  better  balance  in  the  display. 

23 


LATER  EXAMPLES  OF  EARLY  DRAPES 

Showing   How   the  Stands  Wf.rk   Made  and  How  the  Drapes  Were  Made 


DRAPE    1 

THE  ever  recurring  wash-goods  season  ncccssitaUd  the  draping  and  showing  of  the  new 
fabrics  in  an  entirely  different  way.    Drapes  that  were  old  and  timeworn  in  one  trim- 
mer's repertoire  were  entirely  new  to  other  trimmers  and  their  audience.    Therefore, 
the  interchange  of  draping  ideas  among  various  trimmers  soon  brought  out  a  large  variety 
of  drapes,  most  of  them  very  similar  Iio\vc\er  to  the  early  drapes,  especially  as  regards  the 
puffing  feature. 

In  this  Drape  1  the  stand  is  very  easily  made,  consisting  of  a  tvvo-by-two  upright,  the 
base  (of  inch  stuff)   and  a  iieavy  piece  of  cardloard. 

Figure  4  shows  clearly  the  construction  of  the  stand.  Figure  1  shows  the  piece  of  card- 
board, and  the  dotted  line  gives  you  an  idea  of  where  to  cut  it  to  get  the  desired  shape. 
Figure  2  shows  how  the  cardboard  will  look  when  viewed  from  the  front,  when  it  is  bent 
and  tacked  to  the  wooden  strips  shown  in  Figure  3. 


Drape    1 
in   I'igure  H  is  shown   tiie  compUtcd    Draiu-   !. 
bf)ard  and  then  draiicd  in  loiij^    folds  from  the  lop 
I)uffcd  out  a  nunil.er  of  i,A>\s  uf  tile  goods. 

•Jl 


105:03 


goods  are  applied   ilal  on  the  card- 

e   wooden    upright,   011  wliicli   is   also 


Later  Examples  of  Eahlv   I)haim:s 


The  number  of  folds  in  the  drawing  could  be  increased  to  suit  the  triuuncr's  taste.  The 
top  of  the  cardboard  is  finished  off  with  a  lace  or  insertion,  which  is  also  draped  from  the 
top  of  upright  to  the  floor.  At  the  extreme  top  point  of  the  cardboard  is  gathered  up  a  bow 
of  this  lace  or  insertion.  If  it  is  not  stiff  enougli  to  make  an  effective  bow,  insert  white 
millinery  wire  to  make  the  folds  stand  out. 


DRAPE  2 


DRAPE  2   is   shown   in    Fig.   fi.     It   is   made   upon   the   same   stand,  with   the  cardhoara 
placed  to  the  left  of  the  upright,  and  ribbon  used  in  place  of  the  lace. 

The  draping  of  the  goods  on  this  stand  is  clearly  shown  in  the  drawing,  and  dif- 
fers very  little  from  the  first  one.    Both  of  these  styles  would  look  well  in  the  same  window. 
Light   woolen   goods,   challies,   silks,   mercerized   fabrics,   and   cotton   goods   would   look 

well  draped  as  shown  in  Fig.  6,  as  they  are  peculiar- 
ly adapted  to  the  long,  graceful  folds. 

From  this  you  can  see  that  it  is  an  easy  matter 
to  make  still  other  drapes  entirely  different  yet 
along  the  same  line. 

DRAPE  3 

lat    this    assertion    is    true,    1 
er  drawing  (Drape  3).    Here 
same  upright,  but,  instead  of  the 
same  shape  cardboard,  you 
use     a    large     cornucopia 
shaped    from    carpet   paper. 
The  goods  are  stretched 
tightly  over  this  cornucopia 
and  draped,  as  before,  from 
the  upright,  while  one   end 
is    gathered    along    the    top 
of  the  cornucopia. 
Drape    2 

Ribbons  or  laces  are  then  draped 
from  the  stand,  to  give  it  a  finishing 
touch.  ■    ( 

Most  trimmers  had  plenty  of  the 
Vi-ooden  uprights  or  standards,  so 
that  it  was  an  easy  matter  for  them 
to  use  these  drapes,  as  they  only 
had  to  add  the  cardboard  or  carpet 
paper. 

These  styles  of  drapes 
were  also  extensively  used 
on  ledges  inside  the  store. 


L\!i;h  Examplks  of  Eahly  Dmaim-s 


DRAPE  4,  or  THE  HOOP  DRAPE 

IN  many  stores,  especially  the  smaller  (nics,  it  is  not  possible  to  use  the  very  long  sweeping 
line  in  drapes,  because  they  have  not  the  room  or  window  space.     Their  class  of  cus- 
iiimcrs,  too,  would  feel  that  they  did  not  have  much  of  an  assortment.     So  for  these 
stores   it   is  necessary  to   use  a  more  compact   drape — one   that   will  admit  of  their  showing 
quite  a  number  of  patterns  in  a  pleasing  way. 

To  this  end  I  show  Drape  4.  At  the  left  is  shown  the  plain  wooden  upriglit,  at  the 
top  of  which  is  nailed  a  common  wooden  barrel  hoop.  On  this  stand  is  draped  the  wash 
goods  or  silks,  as  is  shown  in  the  drawing. 


Drape    4 
Romid  price  cards  can  he  suspended  in  the  center  of  the  circle,  and  for  a  sales  window 
is  a  good  thing.     For  a  window  showing  more  exclusive  goods,  you  can  use  ribbon  bows 
and  streamers  on  some  of  the  drapes,  as  is  shown  in  the  illustration. 


N 


DRAPE    5 

( )W,   for  the  larger  store  that  has  plenty  of  window  space,  there  was  designed  Drape 

•^.     At  the  right  of  the  drawing  is  shown  the  stand,     'liic  top  is  a  curved  piece  of 

wood,  cut  out  of  incii  lumber,  and  supported  on  the  upright  with  a  brace.     You  will 

notice   tiie   base  of  this   stand   extends   out    farther  on  the   side   on   which   the   top   projects. 

This  prevents  the  extra  weight  of  goods  on  this  side  from  pulling  the  stand  over. 

The  drawing  shows  you  clearly  how  the  goods  are  draped  on  the  form  and  arranged 
in  a  serpentine  effect  about  the  base  of  display.  This  drape  will  permit  the  use  of  wash 
goods,  silks  or  woolen  goods,  thus  being  very  useful. 

The  top  part  of  drape  is  linished  off,  as  shown,  with  some  contrasting  or  harmonizing 
shade  of  silk  or  velvet  ribbon.  When  these  ribbons  arc  arranged  with  taste,  they  are  the 
means  of  making  your  display  complete. 

Be  sure  that  the  goods  show  no  wrinkles,  and  that  the  selvage  is  always  out  of  sight. 
Use  as  few  pins  as  possible,  and  never  let  them  be  seen.  Do  not  step  on  the  goods,  but  if  it 
is   necessary   have   fleece-lined   bedroom    slippers   over   your   shoes,   or   be   in    your   stocking 

26 


Latkr  P:xampi.es  of  Eahly  Diufes 


feet.     Where  you  step   into  the  window,  always  lay  a  piece  of  paper,   for,  if  you  do  not,  in 
time  this  spot  will  he  greatly  soiled,  while  the  rest  of  the  floor  covering  is  all  right. 


T 


DRAPE  6,  or  WIND-MILL  DRAPE 

O  the  right  of  the  drawing  No.  (i  is  sliown  the  wooden  standard  on  which  the  drape 
is   made.      A    common    n])right 
cross  pieces  at  each  end,  T-shaiied 


with    several    lath   crossed,    and   with    wooden 


k_^fe?*==^~^  Drape  5 
These  T-shaped  arms  hold  out  the  large  loops,  made  of  the  goods,  and  in  the  center 
is  made  a  bunch  of  smaller  loops  as  a  finish.  The  drawing  itself  shows  how  several  widths 
of  the  cloth  are  brought  to  the  floor,  and  shirred  at  the  base,  to  cover  up  where  it  is  pinned 
to  the  floor.  The  wooden  upright  has  a  fold  of  the  cloth  brought  down  over  it,  but  it  is  not 
shown  in  the  drawing,  as  it  is  covered  up  with  the  goods  that  extend  out  in  front  of  the 
stand. 


Latkr  Examplks  of  H\hly  Drapi:s 


MOST     wooden  DRAPE    7 

stands  can  be 
used  over  and 
over  again,  as  it  is  pos- 
sible to  drape  the  goods 
in  many  different  ways. 
It  is  also  possible  to 
change  the  same  stands, 
by  using  different  shaped 
tops. 

In  our  drapes  7  and 
8  is  shown  these  wooden 
stands,  each  with  a  dif- 
ferent top.  Drape  9  can 
be      made      over      three  Drape   7 

cornucopias  of  carpet  paper  fastened  together  at  the  top  and  bottom  and  supported  by  one 
of  these  stands. 

The  uprights  of  these  stands  are  generally  made  of  V/2XV/2  inch  or  2x2  inch  lumber. 
while  the  base  and  top  are  of  inch  lumber.  It  is  a  mighty  good  idea  to  make  up  some  oi 
these  fi.xtures  in  your  leisure  time,  as  they  are  almost  indispensable  in  the  showing  of  wash 
goods,  silks  and  woolen  dress  goods. 

The  stand  for  Drape  7  has  a  flat  top  made  in  the  shape  of  a  half  circle.  To  construct 
this  drape,  it  is  best  to  plait  your  goods  (if  wash  goods)  in  four  equal  plaits,  running  the 
length  of  the  goods,  at  a  point  the  same  distance  from  the  end  of  the  goods  as  the  stand 

is  high.  You  then  pin  this 
plaited  point  at  the  base  of 
upright,  and  fasten  end  at 
top  of  stand,  covering  half 
of  it.  Then  bring  up  the 
goods  and  fasten  at  top, 
covering  the  other  half. 
Next,  you  bring  the  goods 
around  the  entire  front  of 
the  top,  in  the  form  of 
small  puffs  or  loops,  and 
carry  it  down  to  the  floor 
at  one  side,  as  is  shown. 
Then  gather  it'  over  thf" 
floor,  covering  up  the  base 
of  the  stand,  and  bring  it 
over  to  the  other  side  of 
stand  and  up  to  the  top, 
the  same  as  the  other  side. 
By  careful  study  of  the 
illustration,  you  will  be 
able  to  drape  this  in  short 
oiiKr.  This  drape  was  cs- 
ially  appropriate  for 
w.'ish  goods  and  silks  and 
1000. 


Later  Examples  of  Early  Drapes 


DRAPE    8 

THIS  fan  drape  was  a  very  pretty  tiling,  and  especially  so  if  a  series  of  them  was  used, 
either  in  the  window  or  on  the  ledge.  It  is  especially  good  for  the  showing  of  cheap 
wash  goods.  These  goods  are  generally  very  hard  to  show  up  well  because  of  the 
starchiness  and  poor  texture  of  the  weave.  But  this  drape  plaits  and  puffs  it  up  so  that  it 
really  looks  much  better  than  it  is.  In  connection  with  price  tickets  these  drapes  sold  any 
amount  of  the  cheaper  wash  goods.  This  drape  was  not  desirable  for  silks,  as  it  wrinkled 
the  goods  up  too  much  and  also  made  too  many  pin  holes  in  it. 

In  constructing  the  top  of  the  stand,  instead  of  sawing  out  a  curved  piece  of  lumber, 


Drape    9 

you  can  use  a  barrel  hoop  or  bend  a  strip  of  light  lumber.     Another  method  is  to  use  small 
bits  of  light  lumber  nailed  together  in  the  curved  shape  desired. 


DRAPE    9 

THIS  very  sightly  drape  was  equally  good  for  wash  goods  or  silks.  The  three  cornu- 
copias or  funnel-shaped  pieces  of  carpet  paper  were  fastened  together  at  the  top  and 
bottom.  It  is  a  good  idea  to  have  them  fastened  to  a  wooden  upright.  Each  funnel 
is  fastened  separately  with  the  goods,  and  then  the  puffs  or  loops  at  the  top  are  arranged. 
I'"or  thin  sheer  materials  one  must  be  sure  to  use  a  lining  of  white  batiste  or  lawn.  Some 
dainty  color  can  be  used  also  to  good  effect,  but  care  must  be  taken  to  have  the  colors 
suitable.  I  do  not  show  goods  gathered  about  the  base  of  this  drape,  as  I  consider  the  plain 
finish  was  most  effective,  and  entirely  dift'erent  than  the  puffing  so  much  in  vogue  around 
the  base  of  many  of  the  drapes. 

29 


Latf:i{  Examples  of  Early  Drapes 


DRAPE    10 

THIS  drape  is  particularly  suilod  to  wash  goods,  but  was  used  for  silks  and  challics. 
Cut  Xo.  1  shows  the  home-made  wooden  fixture,  on  which  the  first  drape  is  ar- 
ranged. Cut  No.  2  shows  the  complete  drape.  First,  you  cover  the  boards  smoothly 
with  the  goods,  and  when  this  is  done  plait  the  goods  in  four  plaits  and  fasten  at  A.  From 
A  bring  the  goods  to  the  floor  at  B,  and  arrange  in  plaits  while  fastening  to  floor.  Now 
fold  the  goods  on  the  floor  until  you  come  to  C.  From  C  the  goods  are  brought  up  to  the 
top  and  center  of  the  V-shaped  boards  or  point  D.  At  D  the  goods  are  again  plaited  in  four 
folds  and  brought  to  floor  at  E.     Then  the  goods  are  brought  around  and  back  of  the  stand 


Drape    10 


SO  that  they  can  be  brouglit  up  to  V.  From  F,  where  they  are  plaited,  the  goods  are  brought 
out  in  a  fan  shape  to  the  cross-bar  at  toj).  .\  fniisli  of  puffed  gootls  on  this  bar  completes 
tlie  drape  of  goods. 

As  indicated  in  the  drawing,  there  is  a  liow  of  ribbon  finishing  the  drape  at  D  and  two 
bands  of  ribbon  arranged  on  the  boards.  Many  other  finishing  touches  can  be  used,  thus 
changing  them  a  trifle  in  api)earance. 

There  was  quite  a  craze  for  several  years  for  using  these  two  boards  as  a  draping 
stand  and  tlie  stand  itself  acquired  the  nickname  of  the  Mortar  Board.  You  will  see  other 
drapes  developed  on  it  elsewhere  in  this  book.  It  still  holds  an  important  place  as  a  stand 
used  in  connection  with  some  of  our  best  present  day  drapes. 

80 


LAri;R  Examples  of  Iv\hi.y  Dhai>i:s 


DRAPE    11 

FIGURES  3  and  5  show,  respectively,  the  sides  and  front  view  of  the  home-made  wooden 
fixture  that  is  the  basis  of  this  drape.  It  was  especially  pretty  when  used  for  either 
wash  goods  or  silks,  and  takes  from  a  three-pattern  length  of  goods  to  a  whole  bolt. 
The  stand  is  about  seventy  inches  high,  the  distance  from  the  base  to  the  wooden  shelf 
being  about  forty  inches.  The  shelf  is  12  inches  wide  and  as  long  as  the  width  of  the  goods. 
Start  with  the  end  of  the  goods  at  bottom  (A),  allowing  one  and  one-half  yards  to 
cover  the  bottom  board  of  stand.  Gather  in  tight  in  plaits  at  A,  and  draw  the  goods  up  to 
the  shelf  (B)  and  fasten. 

•Now  you  take  the  other  end  of  the  goods,  double  the  two   selvages  or  edges  together 


vVb^. 


f^oriT 

Vltvy* 

A 

!\ 

and  pin  to  the  front  of  the  standard  at  B,  then  bring  to  the  top  (C)  and  make  a  loop  a 
yard  and  a  half  long.  Now  gather  this  loop  up  in  two-inch  plaits  and  pin  at  C.  Do  the  same 
thing  again  and  you  will  have  two  gathered  loops  of  silk  that  when  pulKd  out  into  shape 
will  look  like  the  plumes  shown  in  the  drawing. 

The  goods  are  brought  down  to  C  and  then  up  again  half  way  between  B  and  C.  Here, 
two  of  these  gathered  folds  are  made  just  like  the  ones  above,  and  the  goods  brought  down 
to  B  again.     This  gives  you  four  drapes  similar  in  shape  to  ostrich  plumes. 

Lay  the  remaining  goods  on  the  shelf  in  folds  that  will,  when  dropped  over  the  front 
edge,  allow  a  distance  of  one  or  two  inches  between  each  fold.  When  complete,  your  drape 
should  look  like  the  drawing  No.  4. 

This  was  a  rather  unusual  drape,  and  one  that  was  not  in  common  use.  It  was  originally 
used  as  a  counter  drape  in  the  silk  department  but  wa&  only  about  half  as  high. 

31 


La'ikh  K\.\mi'1j;s  of  Kahl^    1)i<ai'i:s 


DRAPE    12 

NEW  drapes  are  always  welcome  to  the  progressive  trimmer.     For  with  new  and  clever 
drapes  of  goods  the  window  can  always  l)e  made  to  look  different  without  any  great 
expense  put   into  the  change  of   background.     Many  very  good   drapes  are  thought 
out  and  used  by  trimmers,  who  would  confer  a  great  favor  on  their  brother-trimmers  if  they 
WKDuld  only  take  the  trouble  to  make  sketches  of  the  drapes  and  send  them  to  their  trade 
journal  for  publication. 

This  triple  top   stand   drape,   originated   in   1906  by  a   student   of  the   Koester  schools, 

shows  that  any  trimmer  is  apt  to  originate  good  drapes  that  will  be  helpful  to  other  boys. 

In   the   drawing   showing   the    stand   with   tlu'   lliree  circular   tops,  you   will   see   a   very 


Drape  12 


good  drape  for  wool  goods  for  citlicr  one  or  two  pattern  Icngtiis.  This  drape  is  not  out  of 
style  even  at  the  present  day. 

The  Cut  No.  1  shows  the  construction  of  the  wooden  stand.  The  three  circles  are 
nine  inches  in  diameter  and  placed  on  a  slant  of  about  45  degrees,  on  a  stand  40  inches  high. 
Circle  B  is  about  three  inches  higher  and  G  inches  back  of  A  and  C. 

In  making  this  drape,  one  should  start  at  D,  leaving  plenty  of  fullness  on  the  floor.  The 
goods  are  draped  gracefully  over  tlie  circle  A,  and  allowed  to  hang  in  natural  folds.  The 
goods  are  then  allowed  to  hang  down  back  of  A  for  some  little  way,  so  that  when  the  goods 
are  brought  up  over  B  they  will  hang  well.  From  B  the  goods  are  dropped  down  the  same 
distance  as  goods  between  A  and  B,  and  then  draped  over  C  and  then  down  to  the  floor. 

Several  yards  from  the  end  of  goods  you  grasp  the  selvage  and  bring  it  up  to  the  circle 
B  and  pin  it  on  the  very  front  edge  of  this  circle,  letting  the  goods  fall  in  natural  folds  to 
Ihe  floor.  Of  course  it  will  bi.-  necessary  to  go  over  all  the  folds  and  straighten  them  out. 
and  possibly  rearrange  them.     This  really  makes  qiiilc  a  showy  drape  for  heavy  goods. 

32 


Laii:h  Kxami'Li:s  or  Eahi.y  Dkaim-s 


DRAPE    13 

THIS  drape  is  for  a  one-pattern  length  of  silk.     The  stand  on  which  the  silk  is  draped 
is  shown  in  the  Fig.  No.  1.    The  extreme  height  of  stand  is  CO  inches,  the  circular  part 
being  36  inches  high  and  the  standard  from  here  to  the  top  being  24  inches  high. 
The  cross-bar  at  the  top  is  18  inches  long,  w-hilc  the  extreme  width  across  the  circular  base 
is  36  inches. 

The  circular  part  is  made  by  stretching  carpet  paper  over  several  hoops  that  have  been 

cut  and  bent  in  the  desired  shape  and  place.    The  carpet  paper  is  covered  with  one  thickness 

of  muslin.  ■  '' 

Start  with  the  silk  at  A,  bringing  it  up  to  P..     The  selvage  of  the  silk  is  then  fastened 

all  along  the  edge,  B,  C,   D,  while  the  other  selvage  is  gathered  in  at  E.     This  makes  the 


top  of  the  circular  base.  Now  drop  the  goods  from  1)  down  to  the  floor  (F),  and  from 
here  bring  it  around  to  the  back,  and  begin  wrapping  it  aliout  the  circular  base  in  pretty 
gathers  or  folds  until  you  reach  the  top  of  circular  i)art.  Bring  the  goods  around  the  back 
to  E,  and  from  there  up  to  the  cross-bar  on  top  in  a  regular  fan-shape.  Finish  the  top  or 
cross-bar  with  a  series  of  puffs,  as  shown  in  the  drawing.  A  few  of  these  drapes  will 
easily  fill  a  window. 

Be  careful  in  fastening  the  silk  to  place  the  pins  as  nuich  as  possible  in  the  selvage,  for 
pin  holes  in  most  silks  will  spoil  its  sale. 

For  this  drape  use  only  soft  silk,  such  as  foulards,  crepes,  etc.,  as  the  stiff  silks,  such 
as  some  taffetas,  are  too  easily  wrinkled. 

33 


Later  Examplks  of  Eahlv  Dhapks 


DRAPE    14 


A  Dkape  Uski 


[Ai.  AM)  Glass  Shelf 


EACH  year  brings  out  some  entirely  new  drape  or  adaptation  of  an  ,old  drape.  The 
Spring  and  Fall  seasons  arc  especially  ijrolilk  in  these  drapes,  because  the  stores  are 
then  showing  so  much  in  the  way  of  new  yard  goods. 
In  more  recent  years  the  pedestal  and  glass  shelf  have  almost  supplanted  all  other 
methods  of  showing  goods.  It  used  to  be  that  the  goods  were  shown  on  large  and  elaborate 
nickel  trees  or  racks.  This  made  a  very  stocky  and  symmetrical  trim.  The  latter  method 
opens  up  the  display,  makes  it  more  artistic  and  attractive.  Therefore  it  is  not  strange  that 
we  should  see  the  trimmers  adapting  their  wash  goods  and  silk  drapes  so  they  could  be 
used  on  these  fixtures. 


Jn  the  drawing  above  1  illustrale  a  drape  of  yard  g.oods  developed  for  use  on  a  pedestal, 
glass  shelf  and  nickel  T-stand. 

This  drape  can  be  used  in  a  showing  of  cottons,  linens  or  silks. 

In  the  small  cut  No.  1  is  shown  the  arrangement  of  the  fixtures.  On  one  arm  of  the  T- 
stand  is  clamped  a  small  nickel  upriulit,  or  a  wire  twisted  on  will  do.  This  is  to  hold  up 
one  fof  the  folds  a  little  higher  than  tlu-  otlur. 

This  drape  is  really  quite  up-lo-dali'  and  can  l)e  used  with  profit  at  tlie  present  time. 

In  the  cut  No.  2  is  shown  the  complete  drape.  One  end  of  the  goods  is  arranged  flat 
on  the  floor  in  front  of  the  stand,  and  then  l)rought  to  the  top  of  T-stand  in  a  graceful 
sweep;  here  it  is  gathered  and  fastened.  The  balance  ,of  the  goods  is  arranged  in  graduated 
lengths  of  loops,  and  these  loops  are  draped  as  shown  in  the  drawing,  one  loop  almost 
reaching  to  the  ground.  Another  loop  is  i)laced  on  oiir  side  of  the  glass  shelf,  while  the  end 
of  goods  is  brought  down  and  onto  the  other  side  of  ilu-  slull.  Three  or  four  drapes  sim- 
ilar to  this  one,  arranged  on  pedestals  of  different  heighis,  make  a  very  good  window  indeed. 

34 


La'I'kr  Examples  of  Eahly  Dhapf.s 


DRAPE    15 

THIS  drape  is  made  up  of  a  bolt  of  18  or  20  inch  light-colored  Spring  silk.    The  fixtures 
used  are  a  pedestal  and  a  large  vase.     Who  ever  imagined  a  vase  would  enter  into  a 
silk  drape? 
In  the  small  drawing  No.  1  is  shown  how  the  bolt  of  silk  is  folded  in  folds  about  thirty 
inches  long  and  gathered  in  at  one  end  and  fastened  very  tight  with  a  cord.  This  end  is  then 
inserted  into  the  neck  of  the  vase  No.  2,  and  this  in  turn  is  placed  on  top  of  pedestal  or 
stand  No.  3. 

The  bolt  can  just  as  well  be  fastened  to  a  wooden  upright  stand  with  a  good  heavy 
base  as  to  be  placed  in  a  vase.  After  a  trimmer  has  the  fundamental  idea  <>i  how  this 
drape   is  made  he   can   use   his   own   method   of  constructing   it. 


Drape  15 


In  Drawing  No.  4,  you  will  notice  at  once  how  this  small  liolt  of  silk  has  been  pulled 
and  spread  out  to  make  a  large  ball-shaped  affair.  This  is  really  a  very  beautiful  thing 
when  made  in  silk,  as  the  light  is  caught  in  the  many  folds  and  intensifies  the  beautiful 
lustre  and  coloring  of  the  silk. 

At  the  base  of  the  vase  and  on  top  of  the  pedestal  are  seen  drapes  of  silk  dropped  to 
the  floor  and  puffed  into  different  sized  loops.  The  finish  shown  in  the  drawing  is  very 
good,  although  any  trimmer  can  originate  other  ways  of  working  up  a  trim  for  the  lower 
part. 

Only  one  drape  of  this  kind  should  be  used  in  a  window,  as  it  will  then  show  up  to  great- 
er advantage  in  contrast  with  the  other  drapes  of  different  construction. 

This  drape  is  particularly  good  for  taffeta  silk  or  any  other  silk  of  about  the  same  stiff- 
ness.   Wash  goods  could  also  be  made  into  this  same  drape. 

35 


Latkr  Examplfs  of  Early  Drapes 


DRAPE  16,  or   OSTRICH  DRAPE 

OXl'".  of   the   most  attractive   of   all   the  old   type   of  puff 
drapes    is    the    one    that    was    known    as    the    Koestcr 
Ostrich    Drape.     The   iUustration    on   this   page   gives 
you  some  idea  of  its   slender  beauty  and  gracefulness.     This 
was    very    apparent    when    dainty    figured    silk    was    used    in 
the   drape. 

Each  one  of  the  plumes,  as  you  might  call  them,  was 
made  by  puffing  a  long  width  of  the  silk,  and  each  plume 
was  arranged  on  the  stand  at  slightly  different  heights.  This 
made  a  most  artistic  composition. 

This  same  drape  was  also  developed  with  fine  figured 
lawns  and  other  wash  goods.  The  end  of  the  goods  was 
gathered  about  the  base  of  the  stand  principally  to  cover  up 
the  base  of  the  stand. 

DRAPE    17 

Tlll.S  drape  was  made  on  a  stand  having  a  square  top, 
with   an  extension  of  the  stand  extending  about  two 
feet    above    this    top    and    being    finished    off    with    a 
crossbar  in  order  to  hold  up  the  tall  puff  at  the  top. 

The  other  puffs  of  graduated  sizes  are  allowed  to  drape 
over  the  square  top  and  where  the  material  was  too  soft 
to  hold  up  well  the  puffs  were  strengthened  by  being  filled 
inside   with    crushed    paper. 


The    unusual    feature    of 


this  drape  is  the  manner  in 
which  a  width  of  the  goods 
is  draped  from  the  top  to 
the  floor  at  a  point  quite  a 
distance  from  the  stand. 
The  goods  are  then  gath- 
ered in  a  puffed  effect  on 
the  floor  and  brought  back 
the  base  of  the  stand 
and  puff'od  around  the  base. 


Drape   16 


LESSONS  IN  DRAPING 
PRELIMINARY    INSTRUCTION 

THE  examples  shown  in  these  lessons  form  the  basis  of  all  dress  goods 
draping.  Wheii  the  window  dresser  has  mastered  the  principle  of 
these  drapes,  he  has  mastered  the  art  of  handling  dress  goods,  for  if 
he  can  form  correctly  the  various  sweeps  and  folds  shown  here,  he  can 
combine  them  into  endless  schemes  for  window  display.  It  has  not  been 
the  purpose  of  the  author  to  give  endless  examples,  showing  all  of  the  hun- 
dreds of  ways  in  which  material  may  be  handled,  but  rather  to  show  thor- 
oughly the  basic  principles  that  are  the  foundation  of  dress  goods  draping. 
If  he  will  follow  the  directions  laid  down  here  and  will  persevere,  anyone 
can  make  perfect  drapes. 

Window  trimming  of  the  highest  type  is  largely  a  matter  of  taking  pains 
and  looking  after  the  little  things,  for  it  is  the  careful  attention  to  little 
things  that  makes  perfection.  Never  be  satisfied  with  an  effect  that  is  "fairly 
good."  If  a  knot  or  fold  is  not  just  exactly  the  way  it  should  be,  work  with 
it  until  you  get  it  exactly  right — do  not  leave  it  until  you  are  thoroughly 
satisfied  that  it  cannot  be  improved  upon.  You  are  doing  yourself  an  injus- 
tice when  you  turn  out  imperfect  work.  Remember  that  if  you  once  do  a 
thing  right,  it  is  that  much  easier  to  do  it  right  the  next  time. 

In  the  series  of  drapes  given  in  this  book,  it  will  be  noted  that  the  same 
sweeps  and  folds  are  repeated  through  most  of  the  examples  and  the  reason 
for  this  is  that  the  folds  and  sweeps  shown  here  are  all  there  is  to  dress 
goods  draping.  An  artist  can  take  a  few  lines  and  by  repeating  and  com- 
bining them  will  make  them  into  a  beautiful  picture.  It  is  the  same  way  with 
draping — the  expert  window  dresser  can  take  a  few  sweeps,  and  folds  and 
combine  them  into  endless  beautiful  drapes. 

In  making  any  drape  remember  always  that  the  whole  cannot  be  perfect 
unless  every  part  is  perfect.  Your  greatest  difficulty  will  be  in  giving  a 
smooth  even  effect  to  the  folds,  especially  at  points  where  a  number  of  folds 
start  from  one  pin.  First  form  the  folds  as  evenly  as  possible  by  taking  the 
big  end  (or  the  end  that  lies  on  the  floor)  and  swinging  the  goods  from  side 
to  side.  When  the  folds  have  been  formed,  run  the  fingers  lightly  along  the 
edges  to  make  them  even.  Bring  the  fingers  between  each  fold  clear  up  to 
the  point  where  the  goods  is  pinned  and  see  that  every  fold  is  in  its  place. 

Display  stands  should  always  be  kept  in  first  class  order.  Those  that  are 
shown  in  the  book  are  simple  and  substantial,  but  no  matter  how  strong  a 
wooden  stand  may  be,  after  long  use  it  will  become  loose  and  rickety.  Inspect 
your  stands  every  time  you  use  them.     Look  them  over  in  yom  workroom 

37 


Lessons  in  Draping 


and  see  that  the  tops  and  bases  are  tight.  Another  important  thing — see  that 
the  edges  of  the  stands  are  all  smooth.  A  little  sandpaper  will  often  save  val- 
uable goods  from  being  damaged  by  the  rough  edge  of  a  stand. 

One  of  the  first  things  for  the  trimmer  to  learn  is  how  to  handle  goods 
so  they  will  not  be  damaged.  In  niost  of  the  following  drapes,  very  few  pins 
are  used.  In  several  of  them  there  is  only  one  pin  and  that  is  through  the 
selvage.  Never  use  an  unnecessary  ])in  and  when  one  has  to  be  used,  place 
it  so  there  will  be  no  strain  upon  the  goods.  Do  not  drag  the  material  over 
the  top  of  the  stand — lift  it  and  carry  il  carefully. 

A  show  window  and  e\cry thing  in  it  should  always  be  immaculately 
clean.  Before  you  place  a  piece  of  goods  in  the  window  be  sure  that  the 
floor,  woodwork  and  mirrors  arc  as  clean  as  it  is  ])ossiI)lc  to  make  them.  V>e- 
fore  you  lea\c  the  window,  after  the  (lisi)]ay  lias  been  ])ut  in,  look  the  lloor 
over  carefully  for  stray  pins,  ravelings,  splinters  of  wood,  etc.  People  pass- 
ing by  outside  will  frequently  draw  their  hands  across  the  glass,  leaving  finger 
marks.    This  is  a  little  thing,  but  it  counts  against  a  display. 

In  designing  a  window  keep  in  view  the  whole  display.  There  is  har- 
mony of  lines  as  well  as  harmony  of  colors.  Thiidc  how  each  drape  will  look 
in  its  relation  to  other  drai)es.  \\^atch  the  lines  of  your  display — they  should 
not  all  be  the  same.  If  you  are  using  a  great  many  long  curves,  work  in 
some  short  curves  and  straight  lines,  to  break  the  monotony.  If  you  have 
many  folds,  use  some  broad  flat  surfaces  as  a  contrast.  Use  drapes  of  differ- 
ent heights  to  give  variety  to  the  display. 

In  learning  to  drape  correctly,  the  most  important  thing  is  practice.  Time 
spent  in  practice  is  the  best  investment  a  triiunicr  can  make.  Practice  every 
detail  until  you  can  do  it  perfectly.  Anyone  who  has  the  use  of  his  faculties 
can  learn  to  drape  if  he  will  only  i)racticc.  Most  window  dressers  will  have 
more  trouble  with  the  sweei)s  than  with  anything  else,  but  when  one  once 
gets  the  knack,  there  is  nothing  easier.  r)Ut  a  few  seconds  are  required  to 
form  a  sweep  when  the  trimmer  knows  how.  Practice!  Practice!  Practice! 
In  window  dressing  there  is  far  more  in  i)ractice  than  there  is  in  being  a 
genius. 


Lessons  in  Dpapinc; 


DRAPE   1 

THIS  is  a  very  simple  drape  and  it  can  be  executed  very  quickly.     It  may  be  used  for 
any  kind  of  goods.    The  fixture  required  is  one  which  can  be  easily  and  cheaply  made. 
It  is  shown  in  Fig.  1.    The  base  is  made  of  %-inch  pine,  14  inches  square,  and  to  this 
is   fastened  a  hollow  standard  38  inches  high.     The  standard  is  made  of   four  J/-inch  pine 
strips,  V/j  inches  wide.     When  these  arc  nailed  together,  the  opening  in  the  midde  is  1-inch 
square. 

In  this  opening  is  used  a  straight  stick  ^x^x48  inches  with  small  holes  bored  through 
it  at  intervals  of  6  inches.  The  holes  arc  made  so  a  small  wire  nail  can  be  used  to  adjust 
the  stand  any  required  height.  The  stick  that  is  used  in  the  standard  should  fit  snugly, 
so  that  it  may  be  elevated  its  entire  length  without  leaning  over  to  one  side.     In  fastening 


the  hollow  standard  to  the  base,  the  best  way  to  secure  it  is  to  nail  a  block  Gx6  inches  to  the 
middle  of  the  bottom.  Then  make  a  square  hole  ihrougii  the  bottom  of  the  block 
corresponding  in  size  with  the  hole  through  the  standard.  Take  a  piece  of  pine 
1x1x8  inches  and  drive  it  through  the  base  into  the  standard  and  nail  it.  A  small  square 
block  should  be  nailed  beneath  each  corner  of  the  base  or  two  strips  along  the  sides,  as  this 
will  make  the  stand  sit  firmly  even  on  a  rough  floor. 

To  make  Drape  1,  two  lengths  of  dress  goods  will  be  required  if  the  stand  is  set  at  the 
height  shown  here.  Set  the  stand  at  six  feet  and  place  it  so  that  one  corner  points  directly 
toward  the  front.  Place  the  goods  on  the  floor  in  front  of  the  stand.  Open  the  goods 
by  taking  the  upper  selvage  in  the  right  hand  and  pulling  the  goods  with  the  left  hand  keep- 
ing the  right  side  of  the  goods  toward  you.  As  the  material  is  jiickcd  up.  it  is  folded  back 
and  forth  until  all  is  opened. 

39 


Lessons  in  Draping 


\\'licn  the  bolt  has  l)ecn  opened  lay  it  right  side  up  on  the  tloor  at  the  riglit  hand  side  of 
the  stand.  Carry  the  end  over  to  point  B  at  the  left  side  of  the  stand.  Lay  the  end  of  the 
goods  on  the  floor  about  two  yards  from  the  stand.  Then  pick  up  the  goods  by  the  back 
selvage  and  place  it  over  the  uiirighf,  allowing  the  back  edge  to  extend  about  one  inch  over 
the  back  of  the  stand. 

After  allowing  suBicient  goods  on  the  right  side  to  form  the  sweep  at  the  back,  carry 
the  remainder  to  the  front  of  the  stand  at  the  left  side  and  leave  the  end  at  point  D,  which 
is  some  distance  in  front  of  point   P>.     Of  course  the  right  side  of  the  goods  must  always  be 

kept  uppermost. 

Pick  up  the  goods  by  the  selvage  at  point  K  which  is  about  the  middle,  and  lift  it  to  the 
top  of  the  stand.  Put  a  pin  through  the  selvage  as  close  as  possible  to  the  edge  and  then 
fasten  the  pin  to  the  extreme  point  of  the  stand  in  front.     This  uuist  be  done  carefully  in 


order  that   the  goods   in  the  two   front   sweeps  may   come  to  an  absolute  point  where  it  is 
pinned. 

The  material  is  now  placed  so  it  extends  in  four  directions  from  the  top  of  the  stand. 
This  is  done  before  the  sweeps  are  formed  in  order  to  apportion  the  goods  properly.  If  the 
decorator  began  to  form  the  folds  in  the  sweeps  before  the  goods  was  all  laid  out,  he  might 
easily  make  a  miscalculation  that  would  necessitate  beginning  all  over  again. 

^■flu  will  now  begin  to  arrange  the  folds  of  the  sweeps,  beginning  with  the  sweep  at 
the  back  on  the  left  side.  It  is  an  extremely  easy  matter  to  form  beautiful  even  folds  if  one 
goes  at  it  in  the  right  way.  Only  a  little  practice  is  required.  It  is  done  by  holding  tlie 
goods  in  one  hand  and  swinging  gently  from  side  to  side,  allov^'ing  the  goods  to  fall  into  its 
proper  place.  I'nless  the  trinmier  is  very  proficient  in  making  folds,  it  will  pay  him  to 
practice  at  this  part  of  the  work  as  it  is  the  foundation  of  all  draping. 

To  form  the  folds  of  the  left  rear  sweep,  lake  the  goods  loosely  in  the  left  hand.  Turn 
the  front  selvage  under  witJi  thr  right  hand  just  enough  to  conceal  it.  In  the  meantime, 
Still  hold  the  gathered   goods   in   the   left    hand,    lifting   the   material   out   of   the   way   so   (hat 

-10 


Lessons  in  Draping 


yon  can  see  how  to  arrange  the  first  pleat  or  the  one  next  to  the  floor.  First  swing  tlie  guuds 
back,  allowing  some  of  it  to  drop,  making  a  fullness.  Then  bring  it  forward  and  back  again, 
turning  a  second  fold  about  one  inch  back  of  the  first  one.  Repeat  this  motion  to  form  the 
upper  fold  or  pleat.  It  will  be  found  that  very  little  smoothing  out  will  be  necessary  to 
make  the  folds  hang  evenly.  The  top  pleat  is  1  inch  wide  at  the  top  and  gradually  widens 
out  until  it  is  12  inches  wide  at  the  end  on  the  floor.    It  covers  all  the  lower  pleats. 


Drape   1 


Now  form  the  folds  of  the  back  sweep  on  the  right  hand  side  of  the  stand.  This  is  done 
in  exactly  the  same  manner  as  has  already  been  described,  except  that  the  goods  are 
gathered  in  the  right  hand  and  tlie  folds  are  smoothed  out  with  the  left. 

To  make  the  front  sweep  on  the  right  side,  gather  the  goods  in  the  right  hand  at  the 
end  of  the  sweep.  The  first  or  lower  fold  is  allowed  to  fall  from  the  top  of  the  stand  (C) 
straight  down  to  the  floor  directly  in  front  oi  the  middle  of  the  stand.  The  selvage  is  turned 
under  just  enough  to  conceal  it.  Then  form  the  three  folds  in  exactly  the  same  manner  as  has 
been  described  in  connection  with  the  back  sweeps.  Each  fold  or  pleat  extends  out  several 
inches  beyond  the  one  above  it.  The  widest  distance  between  the  top  and  middle  pleat  is  9 
inches.     Between  the  middle  and  bottom  pleat  the  widest  distance  is  12  inches. 

The  front  left  hand  sweep  is  arranged  in  precisely  the  same  manner  as  the  front  right 
hand  sweep,  except  that  the  position  of  the  hands  is  reversed.  The  folds  of  the  lower  pleats 
of  the  front  sweeps  now  meet  in  front  of  the  stand,  forming  a  straight  line  and  completely 
concealing  the  stand. 

The  length  of  the  sweeps  nnist  of  course  be  governed  I\v  the  amount  of  goods  used  and 
by   the    window   arrangement.     However,    where   a    double    dress   length   is   used,   the   four 

41 


Lessons  in  Draping 


sweeps  will  all  be  about  three  yards  in  length,  measuring  fr,om  the  lop  of  the  stand  to  the 
end  of  the  sweep. 

When  this  drape  is  rightly  constructed  the  two  back  sweeps  will  extend  in  a  straight 
line  parallel  with  the  back  of  the  window.  The  two  front  sweeps  extend  to  the  right  and 
left  at  angles  of  45  degrees  from  the  line  made  by  the  back  sweeps.  The  drape  is 
now  complete.  The  goods  between  the  two  right  liand  sweeps  is  not  arranged,  as  it  will  be 
covered  by  another  drape,  as  illustrated  in  Window  Plan  No.  1  in  chapter  on  "How  to  Lay 
Out  Complete  Windows."  The  same  applies  \i)  the  excess  goods  on  the  left  side  of  the 
stand.  This  drape  may  be  done  in  various  heights  according  to  the  size  and  shape  of 
the  window. 

It  is  not  likely  that  this  drape  will  be  used  very  often  in  a  window,  as  it  is  perhaps  too 
simple  to  suit  the  taste  of  most  decorators.  The  object  in  describing  it  at  length  is  mainly 
to  show  how  the  folds  and  sweeps  arc  constructed.  The  beauty  of  this  and  all  the  drapes 
that  will  be  described  hereafter  lies  largely  in  llic  long  sweeping  folds  that  start  from  one 
point  and  fall  naturally  and  gracefully. 

The  entire  secret  of  draping  lies  in  the  making  of  folds  and  pleats.  If  the  student  will 
follow  the  directions  carefully,  he  will  find  that  the  folds  almost  make  themselves.  Practice — 
practice — practice — everything  depends  upon  bow  the  work  is  done.  Arranged  carelessly 
it  will  mean  nothing — the  same  goods  arranged  with  care  and  the  window  will  be  artistic 
and  will  produce  results. 


42 


Lessons  in  Draping 


DRAPE    2 

FOR  tliis  drape  is  reciuircd  tlic  same  stand  as  was  described  in  Drape  1,  except  that 
it  has  a  top  that  is  9  inches  square.  The  top  should  be  nailed  securely  and  should 
be  perfectly  level.  After  long  use,  it  has  a  tendency  to  get  loose  and  to  tilt  to  one  side, 
so  the  decorator  should  inspect  his  stands  occasionally  and  tighten  them  up  when  it  is 
necessary.  To  begin  Drape  2  put  a  nail  in  the  second  hole  from  the  bottom.  This  brings 
the  top  of  the  stand  to  a  height  of  a  little  more  than  4  feet.  The  height  of  this  drape  will 
depend,  however,  upon  its  position  in  the  window.  It  can  be  made  as  low  as  desired  or 
may  be  made  in  any  height  that  the  width  of  goods  will  permit.     The  amount  of  the  goods 


required  will  depend  upon  the  height  of  the  stand.     If  it  is  Wz   feet  high,  a  single  pattern 
will  be  sufficient.    If  the  stand  is  higher,  more  goods  will  be  required. 

Place  the  stand  with  one  corner  pointing  directly  toward  the  front.  Unfold  the  goods, 
turning-  the  right  side  out.  Then  place  the  bolt  on  the  floor  at  the  right  side  of  the  stand. 
Carry  the  end  of  the  goods  over  to  B  on  the  left  hand  side  of  the  stand  leaving  enough  of 
the  fabric  on  the  floor  at  B  to  form  a  sweep,  pick  up  the  goods  and  place  it  squarely  over 
the  top  of  the  stand,  allowing  the  back  selvage  to  hang  1  inch  over  the  back  of  the 
top.  Leave  enough  goods  at  the  riglit  of  the  stand  to  form  two  sweeps  and  carry  the 
remainder  around  in  front  of  the  stand  to  the  left  side.  Then  pick  up  the  back  selvage  at 
point  C  Fig.  3.  Fold  the  selvage  under  about  1  inch  and  fasten  with  one  pin  to  the  extreme 
edge  of  the  front  of  the  stand  (point  D,  Fig.  3). 

43 


Lessons  in  Draping 


The  material  now  extends  in  four  directions  from  the  stand  and  the  next  step  is  to 
form  the  folds  of  the  sweeps.  Begin  with  the  back  sweep  on  the  left  hand  side.  The  goods 
at  the  end  of  the  sweep  are  held  loosely  in  the  left  hand,  and  the  front  selvage  is  turned 
under  with  the  right  hand.  Then  swing  the  left  hand  back  and  fortli,  forming  three  folds 
or  pleats,  as  was  described  in  Drape  1.  The  lower  pleats  extend  about  1  inch  in  front  of 
those  above.  These  folds  are  very  easily  formed.  The  two  top  folds  start  from  the  corner 
of  the  top  of  the  stand.  The  lower  fold  starts  at  the  middle  of  the  side  of  the  stand  as  in- 
dicated in  Fig.  2.  The  selvage  of  the  upper  fold  is  turned  under  about  5  inches,  making 
what  may  be  termed  a  box  pleat,  which  is  10  inches  wide  at  the  broadest  point  where  it 
reaches  the  floor,  at  point  B,  Fig.  2.     In  making  the  rear  sweeps  of  this   drape,  do  not 


Drape   2 


stretch  the  goods  or  pull  the  end  out  too  far  from  the  stand.  It  should  be  allowed  to 
fall  in  a  graceful  curve,  as  shown  in  Fig.  2.  When  the  folds  of  the  left  hand  rear  sweep 
have  been  completed,  those  of  the  right  hand  rear  sweep  are  formed  in  the  same  manner 
except  that  the  position  of  the  hands  is  reversed. 

To  form  the  two  forward  sweeps,  bring  the  goods  straight  down  to  the  floor  in  the 
middle  and  turn  under  the  selvage.  Then  start  the  folds  of  the  sweep  on  the  right  hand 
side.  Turn  under  the  front  selvage  and  form  the  folds  by  swinging  the  goods  in  the  right 
hand.  The  selvage  of  the  upper  fold  is  turned  under  5  inches  to  form  a  box  pleat,  and 
the  ends  of  all  the  pleats  are  folded  under,  as  shown  in  the  drawing.  The  upper  pleat 
is  12  inches  broad  at  its  widest  part.  The  front  sweep  on  the  left  side  is  made  in  exactly 
the  same  manner  as  the  one  just  described  except,  of  course,  that  it  is  reversed. 

44 


Lessons  in  Dh.\i>inc. 


If  the  pin  is  properly  placed  at  the  top  of  the  stand,  the  folds  of  tlie  two  front  sweeps 
will  fall  in  beautiful  curves,  Starting  at  a  point,  they  gradually  widen  out  until  they 
reach  the  ends. 

Now  place  two  buttons  at  the  top  point  of  the  stand.  These  should  Ijc  ratiier  large, 
and  care  should  be  used  to  place  them  straight.  Some  buttons  have  a  design  on  thcni 
such  as  a  flower  or  a  head,  and  these  should  always  be  placed  right  side  up.  Hang  the 
first  button  over  the  pin  that  is  used  to  hold  the  goods,  being  sure  to  place  it  squarely. 
Then  put  in  another  pin  a  little  lower  down  and  hang  upon  it  the  second  button,  allowing 
it  to  lap  a  little  over  the  lower  edge  of  the  first  one.  For  plain  goods,  fancy  or  jeweled 
buttons  may  be  used,  and  for  goods  with  mixed  patterns,  use  plain  ones. 

For  early  Spring,  b'all  or  Winter  goods,  an  umbrella  may  be  shown  on  top  of  the 
stand.  Before  it  is  placed,  it  should  be  rolled  carefully  and  if  there  is  a  price  tag  on 
it,  it  should  be  concealed.  Turn  the  handle  toward  the  front  and  arrange  it  so  the  button 
on  the  cover  cannot  be  seen  from  the  front.  The  umbrella  should  be  placed  so  that  it 
is  parallel  with  two  sides  of  the  top  of  the  stand. 

A  black  umbrella  may  be  shown  or  it  may  be  colored,  such  as  navy,  green  or  brown. 
It  should  harmonize  in  tone  with  the  goods.  The  handle  should  be  in  keeping  with  the 
buttons.  For  example,  if  gold  buttons  are  used,  the  handle  should  be  gold  also.  A  gold 
handle  would  not  look  well  with  silver  buttons. 

Now  place  a  pair  of  gloves  over  the  umbrella.  These  should  be  arranged  somewhat 
after  the  manner  shown  in  the  picture.  This  takes  away  the  flat,  stiff  appearance.  White 
gloves,  or  white  ones  stitched  in  black,  will  fit  in  with  any  color.  Gloves  of  any  other 
color  must  match  or  harmonize  with  the  material  of  which  the  drape  is  composed,  as, 
for  instance,  light  tan  gloves  would  look  well  with  brown  material.  A  good  example  of 
pleasing  color  combination  suggesting  a  tailored  suit  would  be  l)rown  broadcloth,  bnown 
umbrella  with  a  dull  gold  handle,  Roman  gold  buttons  and  very  light  yellow  gloves. 

This  drape  is  especially  adapted  to  showing  goods  that  are  used  for  tailor  made  suits. 
It  may  be  used,  however,  to  show  almost  any  kind  of  dress  goods. 


45 


Li-ssoNS  IN  Dhaping 


DRAPE    3 

THIS  drape  requires  about  two  dress  lengths  and  is  especially  appropriate  for  showing 
novelties  oi  the  better  class  of  goods.  It  requires  a  good  deal  of  floor  space  and 
serves  admirably  for  a  corner  drape.  It  should  be  used  in  connection  with  some 
of  the  other  drapes  shown  in  this  series.  For  this  drape  will  be  required  the  ordinary 
home-made  extension  draping  stand  that  has  already  been  described.  The  top  is  10  inches 
square,  and  it  is  placed  on  the  upright  at  an  angle  of  45  degrees,  with  the  four  corners 
pointing  up  and  down  and  to  the  sides.  The  stand  should  be  from  5  to  G  feet  high.  The 
height,  however,  may  be  varied  accordin;4  to  the  size  of  the  windows  and  the  height  of 
the  background. 


rig.  1 


To  begin  the  drape,  open  the  goods  and  carry  tlie  end  over  the  top  of  the  stand  from 
the  back,  allowing  it  to  fall  to  the  floor  about  18  inches  in  front  of  the  middle  of  the  stand. 
From  the  point  where  it  reaches  the  floor  it  extends  forward  another  18  inches,  making 
the  forward  edge  30  inches   from   the  middle  of  tlie  stand. 

Arrange  the  goods  over  the  top  of  the  stand  so  the  crease  in  the  middle  extends 
straight  up  across  the  top.  The  crease  should  pass  directly  over  the  corners  A  and  B 
in  Fig.  2.  Then  spread  out  the  front  (raw)  edge  perfectly  straight  and  smooth  and  form 
the  two  folds,  one  on  each  side  of  the  middle  of  the  front.  These  folds  will  come  some- 
what closer  together  than  they  are  slu)wn  in  the  drawing.  Fig.  2.  The  crease  in  tlie 
goods  should  extend  exactly  down  the  middle  nf  the  front,  half  way  between  the  two 
folds. 

In  case  there  is  a  mirror  background,  strai-hten  the  goods  that  fall  behind  the  stand 
in  order  to  preserve  the  appearance  of  the  bark  of  the  drape.  Carry  the  goods  out  to 
the  right   of  the  stand  to  point   C,  and  allow  for  the  long  right  hand  sweep  at  the  back. 


Lessons  in  Dhapinc; 


Then  pick  up  tlic  selvage  at  point  J),  turn  tlic  selvage  under  twice  at  puint  1)  and  pin 
to  the  top  of  the  stand  at  point  ]•:.  Then  form  three  folds  to  the  sweep  between  points 
C  and  D  and  turn  under  the  rear  edge  to  the  top  pleat.  Now  bring  the  goods  down  to 
point  F  to  form  the  right  forward  sweep.  This  is  executed  as  follows  :  Viewed  from  the 
front,  the  goods  are  pinned  through  tlie  left  hand  selvage  at  point  E.  Draw  out  to  point 
F  and  pin  to  the  floor  through  the  extreme  right  hand  selvage.  This  causes  the  pattern  of 
the  goods  to  run  diagonally  across  the  top  fold  of  the  sweep.  The  pin  at  F  should  be  placed 
at  such  a  distance  as  to  allow  the  lower  fold  (or  the  left  hand  edge)  of  the  goods  to 
be  turned  under  and  join  closely  to  the  goods  already  draped  over  the  front  of  the  stand. 
When  the  pin  has  been  properly  placed,  turn  under  the  right  hand  edge.  The  upper  part 
of  the   sweep   then    forms    itself    naturally.      It   begins   at    the   point   K  and    gradually   widens 


Drape    3 


until  it  is  al)OUt  10  inches  across  at  the  widest  part.  It  then  diminishes  in  width  until  it 
comes  to  a  point  at  F.  The  lower  part  of  this  sweep  is  formed  by  folding  the  goods  back 
under  and  then  bringing  it  out  at  the  bottom. 

Now  allow  suflScient  goods  to  form  the  puffing  in  front  as  shown  in  the  finished  draw- 
ing, and  carry  the  remainder  across  to  the  left  side.  Allow  for  the  left  hand  front  sweep 
of  the  same  length  as  the  one  already  constructed  on  the  right  side.  Pick  up  the  right 
hand  selvage  of  the  goods  and  after  having  turned  the  selvage  under  twice,  pin  through 
the  edge  at  point  opposite  E.  Tlic  sweeps  on  the  left  side  are  constructed  in  exactly  the 
same  manner  as  those  on  the  right  side,  except  that  they  are  reversed.  After  all  four 
sweeps  have  been  made,  use  the  surplus  goods  in  front  to  form  the  pulling  which  extends 
in  a  crescent  shape  between  the  points  of  the  front  sweeps. 

47 


Lkssons  in  Dhaping 


I'or  the  trinmiini;  of  this  drape  two  liolts  of  ribbon  one  lialf  inch  wide  and  10  yards 
long  are  required.  The  rilibon  may  be  either  of  velvet  or  satin.  It  should  be  in  two  shades, 
one  light  and  the  other  dark.  Tlie  darker  sliade  should  always  be  arranged  on  top.  In 
handling  the  two  ribbons  they  should  be  kept  together  in  the  same  position  throughout. 

The  formation  to  the  bow  shown  in  Drape  3  is  so  simple  that  but  little  description 
is  necessary.  Allow  about  a  yard  for  the  ends  that  hang  down  the  right  hand  sweep. 
Then  form  the  two  ribbons  in  a  single  pleat  and  pin  to  the  right  hand  corner  of  the 
stand.  Form  the  long  loop,  pleat  again  and  pin  at  the  same  point.  The  two  short  loops 
are  formed  in  the  same  manner,  always  folding  the  ribbons  in  a  single  pleat  where  they 
are  pinned.  Then  bring  the  long  ends  over  from  the  back  to  the  front  and  turn  it  twice 
around  the  base  of  the  loops  where  they  are  pinned.  Tliis  forms  the  knot  and  the  long 
ends  are  carried  across  the  right  forward  edge  of  the  stand  and  over  to  some  other  stand 
where  they  are  again  knotted  and  allowed  to  fall  to  the  floor.  This  ribbon  is  used 
throughout  the  entire  window,  passing  from  drape  to  drape.  No  other  decorative  or 
trimming  is  used. 

For  very  stocky  displays  where  it  is  desired  to  show  many  pieces  of  goods,  this 
drape  may  be  made  without  any  side  sweeps.  Simply  drape  the  goods  over  the  stand  as 
sliown  in  Fig.  2.  Arrange  this  part  of  the  drape  in  the  manner  already  described  and 
two  folds  will  form  naturally  at  each  side  of  the  stand  at  I  and  J.  These  folds  should 
be  smoothed  out  and  after  the  surplus  goods  has  been  concealed  behind  the  stand,  the 
drape  is  complete.  For  the  embellishment  of  this  drape,  any  appropriate  trimming  may 
be  used,  running  from  stand  to  stand  throughout  the  window.  This  drape  is  particularly 
suitable  for  the  high  stands  in  the  back  rows  of  stocky  windows. 


Lf.ssons  in  Dhafinc 


DRAPE   4 

THE  high  T  stand  is  used  for  this  (hapc.  Tliis  stand  is  shown  in  Fig.  1.  The  top 
is  24  by  4  inches.  This  stand  should  have  a  heavy  bottom  or  should  be  nailed 
down  to  the  floor,  as  the  heavy  folds  on  one  side  would  make  it  tip  over  other- 
wise. In  trimming  the  drape  the  stand  has  to  be  covered  first  perfectly  smooth,  beginning 
with  the  end  of  the  goods  on  the  bottom  of  the  stand  so  that  about  one  half  yard  of  the 
goods  is  lying  smooth  on  the  floor  at  A.  The  left  hand  selvage  has  to  be  even  with  the 
left  corner  of  the  top  B  and  the  rest  of  the  width  drapes  down  on  the  right  of  the  stand 
C.  The  back  of  the  stand  has  also  to  be  covered  smoothly,  so  that  the  stand  does  not 
show  if  there  is  a  mirror  liackground. 

The   next  movement   is   the   fomiation   of   the   two   sweeps   that  extend   from   the   front 


of  the  stand.  Allow  sufl'icient  material  to  form  the  sweep  that  extends  to  the  right. 
The  amount  will  be  governed  by  the  size  of  the  window  and  the  position  of  the  stand. 
Then  pick  up  the  goods  by  the  edge,  using  both  hands,  as  shown  in  Fig.  2.  Turn  the 
selvage  under  twice,  making  each  turn  about  ^4  of  an  inch.  Then  place  the  folded  edge 
squarely  over  the  edge  (C)  of  the  stand,  allowing  it  to  extend  back  only  about  Vi  inch. 
The  fold  is  then  pinned  in  position.  A  pin  is  driven  in  from  behind  the  right  hand  corner 
of  the  front  (C)  of  the  stand.  This  pin  must  be  placed  so  it  will  not  show.  Another  pin 
is  placed  on  the  opposite  side,  but  this  one  need  not  be  concealed,  as  it  will  later  be  hidden 
by  a  knot  of  velvet. 

The  goods  are  now  arranged  to  form  two  wide  sweeps  as  shown  in  the  finished 
drawing.     They  begin   at  apposite  sides  of  the   front  of  the   stand  and  extend  to  tiie  right 

4  49 


Lessons  in  Dhaping 


and  left.  Tlic  right  liand  sweep  is  formed  witli  fmir  even  pleats  and  extends  at  an  angle 
of  -15  degrees  to  the  right  of  the  line  of  the  l(jp  of  the  stand.  The  folds  are  f/jrmcd  hy 
taking  the  goods  in  the  right  hand  and  adjusting  the  pleats  with  a  swinging  motion  from 
side  to  side.  The  edges  of  the  folds  at  the  end  of  the  sweep  should  he  even.  The  length 
of  this  sweep  should  l)e  alioiil  •_"  _■  \ards,  tliis  distance  however,  must  be  adjusted,  accord- 
ing to  the  size  of  the  window  and  the  height  ,of  the  stand.  Having  completed  the  right 
hand  sweep,  the  forward  sweep  is  formed.  This  sweep  starts  from  the  left  hand  corner 
of  the  front  of  the  stand  and  descends  in  a  pleat  which  gradually  widens  toward  the 
middle  and  then  diminishes  until  it  comes  to  a  point  where  it  is  pinned  to  the  floor.  At 
the  widest  point,  it  is  12  inches  across.  The  formation  of  this  sweep  is  quite  simple.  It 
is   done   as   follows : 

To  begin  with,  the  goods  used  for  this  sweep  are  already  pinned  through  the  left 
hand  selvage  to  the  front  of  the  top  of  the  stand.  Now  decide  how  long  the  sweep  is 
to  be  made  and  take  the  .opposite  or  right  hand  selvage.  Pin  the  right  hand  selvage  to 
the   floor  and  the  pleat   forms   itself  naturally.     The  pattern   of  the  goods  crosses   the   sur- 


face  of  this   sweep   diagonally.     The   left   hand   selvage   is   turned   over   about   -1   inches   and 
falls   back  naturally   in   line  with  the  wide  sweep   A. 

Having  finished  the  front  sweep,  the  goods  are  carried  back  m  a  graceful  curve  along 
the  lower  end  of  sw-ecp  A  to  a  point  on  the  floor  correspondiiig  in  position  with  point 
E,  Fig.  2.  Allow  fullness  enough  to  form  the  puffing.  In  this  and  all  similar  movements 
always  be  careful  not  to  twist  the  goods,  and  the  right  side  should  always  be  uppermost. 
From  the  point  E  carry  the  goods  up  to  the  top  of  the  stand  B  to  measure  the  distance 
of  the  back  sweep  on  the  left  side.  Having  found  the  correct  distance  lay  the  goods  on 
the  floor  and  fold  under  one  eighth  of  the  whole  width.  Then  fold  back  and  forth  until 
the  goods  are  arranged  in  four  pleats  of  equal  depth,  as  shown  in  Fig.  4.  Having  com- 
pleted this  arrangement,  the  pleated  goods  can  be  laid  smoothly  over  the  top  of  the  stand 
at  B.  The  selvage  of  the  uppermost  pleat  extends  l)ack  one  inch  bexund  the  lower  folds 
in  order  to  conceal  them,  as  shown  in  h'ig.  ;i  Wlien  this  arrangement  has  i)een  completed. 
the  front  edges  of  the  four  pleats  are  about  l\  inches  in  front  of  the  extreme  back  of  the 
stand  P..  In  arranging  the  folds  the  lower  one  extends  a  tritle  in  front  of  the  next  one 
above    and    each    succeeding    one    is    arranged    in    the    same    way.      Having    completed    the 

50 


Lessons  in  Dhapinc. 


arraiigenienl  al  tlic  rear  of  llir  lop  of  tin-  stand,  lliis  swcfp  is  carried  tn  the  left  at  a 
right  angle  from  the  top  of  tlie  stand  and  is  fastened  with  a  single  pin  through  the  left 
hand  selvage  at  point  K.  This  |)oint  is  aluuit  _'  yards  from  the  standard  of  the  tixtnre, 
or  as  far  as  the  width  of  the  goods  will  ])ernut.  This  hrings  the  end  of  the  sweep  to  a 
point  and  the  four  folds  form  themselves  automatically.  The  ])lacing  of  the  pin  at  E  is 
an  important  matter.  It  nuist  he  at  a  spot  which  permits  the  lower  fold  of  the  sweep 
to  fit   snugly   over  the  edge  ,of  the  sweep   A  throughout   its  entire  length. 

For  the  trimming  of  this  drape  take  a  piece  of  insertion  lace  (Venetian  Applique) 
from  5  to  (i  inches  wide,  hang  it  smoothly  over  the  top.  Gather  it  together  and  fasten 
it  with  one  pin  on  the  left  hand  corner  of  the  front  of  the  stand,  as  shown  in  Fig,  "). 
After  this  hring  the  lace  down  in  a  graceful  curve  at  a  right  angle  from  the  top  of  tlu' 
stand  and  parallel  with  the  folds  of  the  hack  sweep.     The  end  of  the  lace  should  he  carried 


Drape    4 

some  18  inches  hcyond  the  g(Vids  on  the  lloor.  Jt  is  then  turned  under,  carried  hack  and 
the  surplus  lace  is  placed  under  the  dress  goods.  Gather  the  lace  together  and  fasten 
with  a  pin  to  the  floor  at  the  exact  edge  of  the  dress  goods  as  shown  in  Fig.  G.  Then 
take  a  piece  of  velvet  Vs  yard  long  and  fold  it  in  three  small  pleats,  h'asten  at  the  point 
where  the  lace  is  gathered.  Wind  the  velvet  loosely  around  the  lace  twice,  in  such  a 
manner  as  to  form  an  oval  knot  3  inches  high.  The  loop  of  lace  which  extends  heyond 
the  knot  should  he  looped  up  into  little  waves  to  take  away  the  stiffness.  Another  similar 
knot  of  velvet  is  made  at  the  point  where  the  lace  leaves  the  top  of  the  stand  at  C.  In 
making  the  knots  of  velvet,  care  should  he  taken  to  avoid  showing  the  selvage  or  end  of 
the  material.  A  good  deal  of  skill  is  required  to  get  the  hest  effects  from  these  little 
knots.  They  should  he  folded  and  arranged  in  such  a  manner  as  to  hring  out  the  folds 
strongly,  as  their  principal  charm   lies  in   the   light   and  shadow  of  the  velvet. 

51 


LivSsoNS  IN  Dhaimng 


DRAPE    5 

THIS  drape  is  siiital)lc  ior  any  kind  of  licavy  goods.  It  is  well  adapted  to  broad- 
cloth and  serves  equally  well  to  show  up  goods  having  a  rough  surface.  It  is 
especially  suitable  for  large  plaids  and  Scotch  goods  of  all  kinds,  as  the  large 
smooth  surfaces  oi  the  drape  serve  admirably  1o  show  up  the  pattern.  It  can  be  used  to 
good  advantage  in  displaying  any  kind  of  winUr  falirics.  While  goods  of  lighter  weight 
can  be  displayed  in  this  way,  tluy  .l-  n.a  >bnu  up  as  well  as  heavy  goods  The  latter 
have  the  body  and  weight  that  niakr  theni  fail  in  InUR,  sweeping  folds,  whereas  it  is  diffi- 
cult  to  make  a  long  graceful   swcip   uitli   \ery   liv^ht   g.oods. 

The  stand  required  is  shown  in  Fig.  1.  It  is  the  ordinary  telescoping  stand  having 
a  horizontal  board  4  by  24  inches  in  size  for  a  top.  This  top  is  48  inches  from  the  floor. 
To  the  back  end  of  the  top  of  the  stand  is  naibd   a  vertical   strip   7/^  inch  square,  the  top 


of  which  is  78  inches  from  the  floor,  in  most  cases  where  a  drape  of  thi>  kind  is  used 
the  ends  of  the  sweeps  will  be  covered  by  other  drapes.  This  feature  is  expl.iined  in  a 
later  chapter  under  the  heading  of  window  plans. 

To  begin  the  drape,  place  the  stand  so  the  b.-ard  top  points  slightly  to  the  right  or  left, 
unfold   the  goods   as   usual   and   carry   the   end   over   to   the   left 
about  2'/:   yards,   about   Ys    of   which   lies   mi   tiie   floor,   and   can 
zontal  top  of  the  stand,  allowing  the   front    fold  of  the  ;-;(io(ls  t< 

ipriiAJit   at  point   A 


the  sehage  back 


til 


of  the  top  and  c 

Then  bring  the  goods   out   to  the   rii;! 
as  was  left  on   the  left   hand   side.      Xdw   allow 
at  the  right,  also  enough   for  the  long  :^weep   1'. 
and  turn  the  selvage   under  twice.     Then   carry 
corner  of  the  top  of  the  stand   D. 

52 


<ide   of  the   stand.     Allow 
the   i)iece  over   the   hori- 
fall  over  the  forward  end 
big.  •-'. 


f   the   Stand,  allowing  about  the  same  amount 

i\v  enough  goods  for  the  puffing  on  the  floor 

Pick  up  the  edge  of  the  goods  at  point  C 

t   over  ami   pin   to  the   right  hand   forward 


Lessons  in  Drapinc. 


Now  form  the  two  front  sweeps  R  and  E.  To  do  this  first  straighten  out  the  goods 
that  fall  directly  below  the  point  D,  where  the  pin  is  placed.  Take  the  lower  edge  of  the 
goods  in  both  hands,  holding  them  :il)oiit  2i  inches  apart,  and  draw  forward.  Then  turn 
the  lower  edge  under  and  smootli  out,  leaving  a  little  goods  to  lie  smoothly  on  the  floor 
at  point  F,  Fig.  3.  Thi^;  makes  a  smooth  surface  that  curves  gracefully  up  to  the  point 
where  the   goods   are  pinned  at  the   top. 

The  sweeps  at  the  right  and  left  have  three  folds  each.  The  lower  fold  has  the  front 
edge  turned  under  and  the  upper  fold  has  the  back  edge  turned  under  to  make  a  Ix)x 
pleat.     The  end  of  the  left  hand  sweep  is  turned  squarely  under,  as  may  be  seen  in  Fig.  3, 


and    the   goods   are   carried    back,   leaving   a   sufficient   amount   to    form   the   puffing   on   the 
floor  at  the  left. 

Then  carry  the  goods  to  the  top  of  the  vertical  stick  to  measure  the  amount  required 
for  the  back  sweeps.  When  the  proper  amount  has  licen  determined,  form  the  goods  in 
four  equal  pleats  or  folds.  This  folding  may  be  done  on  the  floor  if  space  permits.  If 
there  is  not  sufficient  space  ,on  the  floor,  the  folds  may  be  formed  on  the  knee,  as  follows: 

Raise  the  knee  until  the  upper  part  of  the  leg  is  horizontal.  Gather  the  goods  close 
to  the  l)ody  with  the  right  side  uppermost.  Then  carry  the  front  selvage  forward  and 
turn  it  under  about  (i  inches,  or  in  proper  proportions  according  to  the  width  of  the  goods 
to  make  the  required  number  of  folds.  Now  pick  up  the  goods  again  and  make  another 
fold  of  the  same  width  as  the  goods  that  is  turned  under.  The  forward  edge  of  the  second 
fold  comes  directly  even  with  the  edge  of  the  fold  below.  Repeat  this  process  until  four 
even  folds  have  been  made.  The  back  edge  of  the  upper  fold  is  turned  under  to  conceal 
the  selvage. 

Now  place  the   folded  goods  over  the  top  of  the  upright  at  G,  using  care  to  keep  the 

53 


Lkssons  in  Dhapino 


edges   even.     Tlu 
the  stick. 


fiiruaiv 


li;e^    sliuuld    In-    ])laci'(l    \ery    sliglitl}'    lu'V.Miid    the    front    ec 


Xoxt  step  to  llie  end  of  the  It 
in  the  right  liand.  Swing  the  goi 
to  form  four  folds  and  allow  the  !< 
already  been  formed  over  the  jowe 
at  the  top  of  tiie  stick,  all  that  is 
straighten  the  forward  edges.  The 
on  the  right    (  rear)    side  is  formed  ii 


ft    (rear) 

s\ 

(Is    from    > 

id 

.wer   folds 

t 

-   part   of 

Ih 

necessary 

is 

rear  edge 

ot 

1  the  sanu' 

n 

f  tl 


)  and  facing  the  stand,  take  the  goods 
I)  side  at  the  same  time  letting  it  fall 
ig  until  even  with  the  draping  that  has 
ami.  As  the  folds  are  already  started 
make  the  pleats  of  even  width  and  to 
L'  top  |)liat  is  turned  imder.  Tiic  sweep 
ler.  except  that  the  Irinnnev's  positiim  is 


Drape    5 


reversed  and  he  handles  the  goods  witli  his  left  iiand  instead  of  his  right.  When  the 
sweeps  have  been  formed  it  will  l>e  found  tiiat  there  is  some  distance  btween  the  stick 
and  the  inner  folds  of  the  high  sweeps.  To  Id!  in  this  space  tlie  innermost  folds  are 
drawn  together  and  pinned  in  front  of  the  slick.  In  pinning  them,  care  must  be  used  to 
avoid  pulling  the  folds  out  of  shape.  It  is  impossible  to  entirely  fdl  the  opening  without 
disarranging  the  folds.  The  space  that  remains  however,  may  be  covered  with  a  fur 
piece  as  indicated  in  the  large  drawing,  if  winter  goods  arc  shown.  If  summer  goods 
are  shown  use  a  piece  of  lace,  or  a   featlier  boa. 

The  knot  that  is  atlaclied  to  tlu'  froul  of  the  lower  part  of  tiie  drape  is  constructed 
as  shown  in  big.  5.  It  is  made  of  two  strips  of  velvet  ^s  yard  wide  cut  straight  across 
the  width  of  the  goods.  These  are  twisted  together  as  Fig.  5  shows.  Wide  ribbon  may 
be  used  in  place  of  the  velvet.  I-'urs  make  ai)propriatc  accessories  for  (his  kind  of  drape, 
as  the  goods  are  intended  for  f;ill  and  winter  wear.  In  the  large  illus(r;i(iion  a  eomple(e 
set  of  furs  is  shown  and   an   umbrella   is  laid  across   tiie   lop  of  (he  s(and. 

51 


Lkssons  in  Dmai'inc; 


DRAPE    6 


THE  stand  required  for  this  drai)e  is  tlic  same  as  has  been  described  in  connection 
with  (Other  drapes.  It  has  a  to])  -!1  I\v  4  inclies,  which  is  tilted  at  an  angle  of  45 
degrees.  It  sliouki  be  adjusted  t,o  a  heiglit  of  about  (i<i  inches.  'I'hc  holt  of  goods 
is  opened  up  as  has  been  explained  in  the  previous  drapes.  After  having  unfolded  the 
material,  the  goods  are  placed  in  a  pile  at  the  right  hand  side  of  tlic  stand.  The  material 
is  carried  over  the  top  of  the  stand.  leaving  enough  to  extend  from  the  top  down  to  the 
door   at   the   left   about    I'j   yards    from   tiie   middle  of   tl:e   stand    (iioiut    A,   Fig.   2).     The 


left  hand  selvage  extends  to  the  extreme  top  of  the   stand  B.     This   will  allow  about  half 
of  the  width  of  the  goods  to  hang  down  from  the  front  of  the  stand   (point  C). 

The  next  movement  is  to  pick  up  the  goods  at  the  right  hand  side  of  the  stand 
and  carry  it  across  in  front  of  the  fixture  to  a  point  some  distance  to  the  left  of  A, 
Fig.  2.  Care  should  be  taken  to  keep  the  right  side  of  the  goods  uppermost.  Allowing 
sufficient  fullness  at  the  right  hand  side,  l)ring  the  back  selvage  up  to  the  extreme  upper 
point  of  the  left  hand  side  of  the  front  end  of  the  stand  (point  C,  Fig.  2).  Turn  under 
1  inch  of  selvage  and  fasten  with  a  single  pin.  The  right  hand  sweep  in  front  is  carried 
forward  to  the  right  and  is  formed  into  three  pleats  as  described  in  Drape  2.  The  selvage 
of  the  top  pleat  is  folded  under  ab,out  .")  inches  on  tiie  right  hand  side.  The  left  hand 
forward  sweep  is  done  in  the  same  manner.     The  left  hand  sweep  extends  at  an  angle  of 


Lessons  in  Draping 


a  little   less  than  45  degrees  from   the   right  hand  sweep, 
sweep  is  done  as  follows : 


The   arrangement   of   the   rear 


Having  laid  out  the  forward  sweeps,  the  remainder  of  the  goods  is  carried  back  along 
the  lower  edge  of  sweep  A,  leaving  en«ngh  goods  to  form  the  puffing.  Then  carry  the 
goods  to  the  top  of  the  stand  to  measure  the  distance  for  the  hack  sweep.  Having  found 
the  correct  distance  lay  the  goods  on  the  floor  or  take  it  on  the  knee  and  fold  under  %  of 
the  whole  width.  Then  fold  back  and 
forth  until  tlio  gtiods  arc  arranged  in 
four  pleats  of  equal  depth.  This  process 
is  fully  explained  in  Drape  1.  The 
pleated  section  of  the  goods  is  now  laid 
over  the  hack  of  the  top  of  the  stand  at 
P).  The  selvage  of  the  uppermost  pleat 
extends  1  inch  back  beyond  the  lower 
pleats  in  order  to  hide  them.  When  the 
arrangement  has  been  completed,  the 
front  edges  of  the  four  pleats  are  about 
3  inches  in  front  of  the  back  of  the  stand 
(point  B).  In  arranging  the  folds  the  lower  one  extends 
one  above  and  each  succeeding  one  is   arranged   in   the   same 


tritlc 
•ay. 


in    front    of   the   next 


Having  completed  this  arrangement  the  sweep  is  carried  out  to  the  left  at  a  right 
angle  from  the  top  of  the  stand  and  is  fastened  with  a  single  pin  through  the  left  hand 
selvage  at  a  point  about  2  yards  from  the  standard  of  the  fixture.  This  brings  the  end 
of  the  sweep  to  a  point  and  the  four  folds  form  themselves  naturally.  The  pin  must  be 
placed  at  such  a  distance  that  the  lower  fold  fits  snugly  against  sweep  A  throughout  its 
entire  length.  In  placing  the  folds  at  the  back  of  the  top  of  the  stand,  as  shown  in  Fig.  3, 
the  forward  ends  of  the  pleats  are  allowed  to  extend  over  the  back  of  the  stand  (B) 
about  1  inch.  Each  lower  pleal  is  arranged  slightly  in  advance  of  the  one  alwve,  as 
described   in  Drape  4. 


At  the  edge  of  the  top  ,of  the  stand  where  the  pleats  turn  to  pass  d( 
the  corners  of  the  folds  may  be  strengthened  and  brou,u:ht  out  I)y  pinch 
between  the  fingers  to  exaggerate  the  corner  efTect.  The  rcniaiiKbr  of 
allowed  to  hang  down  behind  the   .stand.     In   fastening  the   lower   i)arl    of  111 


the  goods  at  a  point  about  2]/,  yards  from  tlie  bottom  of  the  sta 
the  width  of  the  goods  permits.  This  distance  varies  with  tin 
should  always  be  at  such  a  distance  as  to  ])crmit  the  folds  t,o  f; 
single  pin  is  required  to  fasten  the  left  hand  selvage  to  the  iloc 
ment,  the  sweep  is  then  complete. 


the  sides, 
the  goods 
folds  are 
weep,  take 
leh  distance  as 
the  goods.  It 
1  a  graceful  curve.  .\ 
With   a   little  arrange- 


dth 


ig 


In    mak 
fall    in    natnrall 
trimmer   must   1 
to    sway    in    the 

stiffness.      The    proportions    and    line 
followed  as  closely  as  possible. 


llu'    forward   sweep 

/    graceful    eur\es. 

I-  careful   not   to  st 

middle    sufiicientlv 


no  ])ins  are  used  at  the  iloor,  consequeiUlv  the  gi^ids 
In  the  rear  sweep,  however,  a  pin  is  u>ed  and  the 
:tch  the  goods  too  tight.  The  folds  should  be  allowed 
to  give  graceful  curves  and  avoid  all  appearance  of 
of    the    curves    shown    in    the    (lrawini.;s    should    l)e 


56 


Lessons  in  Draping 


Having  completed  the  third  or  rear  left  hand  sweep  the  »'>ods  are  carried  from  the 
top  down  on  the  opposite  side  to  the  floor  where  another  sweep,  identical  with  the  third 
one,  is  constructed.  As  the  folds  are  already  made  at  the  top  (point  B),  all  that  is  neces- 
sary is  to  carrj'  the  goods  to  the  proper  point,  pin  tlic  selvage  to  the  floor  and  arrange 
the  folds.  When  properly  arranged,  the  front  and  rear  sweep  on  the  left  side  arc  at 
right  angles  to  each   other.     The   same  is   true  of   the   sweeps   tin   the   rif;ht   side. 

For  the  trimming  of  this  drape  take  one-fourth  yard  of  velvet  cut  on  the  bias.  Then 
cut  this  piece  in  halves  along  a  line  drawn  at  a  right  angle  from  the  longest  side  of  the 
piece  as  shown  by  the  dotted  line  in  Fig.  4.  Only  half  of  the  piece  of  velvet  is  used.  Two 
colors  are  required  for  the  trimming  of  tliis  drape,  or  one  color  in  two  different  shades. 
Both  pieces  should  be  cut  in  the  mamicr  described  before.     The  kn,ot  thai  will  be  described 


here  requires  two  pieces  of  velvet.  Take  the  lighter  colored  piece  and  fold  it  across  the 
square  end  into  four  equal  folds,  as  shown  in  Fig.  5.  A  pin  is  driven  through  the  four 
folds  at  the  left  hand  side  of  the  front  end  of  the  stand  (point  C,  Fig.  3).  This  should 
be  arranged  so  that  the  four  pleats  are  turned  towards  the  front  and  the  end  of  the 
velvet  hangs  to  the  right.  The  darker  piece  of  velvet  is  folded  in  the  same  manner  as 
the  lighter  one,  and  is  fastened  just  back  of  the  f^rst  piece  and  in  exactly  the  same  posi- 
tion. The  end  of  the  first  or  lighter  piece  of  velvet  is  carried  down  beneath  the  folds 
of  the  two  forward  sweeps  as  shown  in  Fig  6.  It  is  tlun  l)rought  up  on  the  left  hand 
side  and  held  erect  in  the  left  hand,  while  with  the  riyht  band  the  darker  piece  is  twisted 
once  around  the  lighter  piece,  as  illustrated  in  I'ig.  7.  This  makes  the  folds  of  the  two 
forward  sweeps  seem  to  emerge  from   a  small  knot  of  light  velvet. 


Li:ssoNs  IN  Draimnc. 


DRAPE    7 

THIS   is  an  exceptionally  good  all  around  drape.     It   is  easily  and  quickly  constructed. 
It  is   attractive   in   appearance   and   is   adapted   to   almost   any  kind  of  goods.     It  is 
especially  good  for  a  stocky  window  where  a  number  of  patterns  are  to  be  shown, 
and   it   is   equallj-  good    for   special    displays   where   only   two   or   three  patterns  are  put   in 
the    window.      It    also    can    be    used    to    advantage    in    connection    with    any    of    the   other 
drapes  shown  in  this  series. 


The  stand  should  be  42  inches  high.     For  this  drape  a  new  stand   is   required.     It  is 
an  extremely  simple  home-made  fixture  and   can   be  constructed  in  a   few  minutes  by  any 


one  who  knows  how  to  use  a  hammer  and  saw.  It  is  made  of  two  ^  boards  42  inches 
long.  One  is  8  inches  wide,  the  otlur  I'  inches.  They  are  nailed  together  at  right  angles 
to  form  a  trough,  as  .shcnvn  in  b'ig.  1,  having  two  sides  9  inches  wide.  This  stand  may 
be  made  in  any  luiglit,  luit  about  42  inches  is  best  for  general  use  in  the  front  of  the 
window. 

As   was    said    in    the   beginning,    the    12    inch    stand    is    llie    most    useful    for    front    row 
drapes  in  the  window.     However,  in   stocky  windows  there  may  be  two  or  three  rows  of 

58 


Lessons  in  Draping 


Fig.  6 


Stands;  and  it  is  then  necessary  to  have  the  back  ones  higher.     It  is  not  necessary,  though, 
to  make  higher  stands,  as  tl-.e  42-inch   stand  can  be  placed  on   a  box   to  bring  it  tx)  the 
required   height.     In   phicing   it   on   a  I;ox,   care   should  be  taken   to  have   the   stand   so  the 
sides  will  be   flush   with   the   sides  of  the  box.     To  accomplish   this  the  angle  of  the   front 
of  the  stand  should  be  directly  above  the  angle   formed  by  the  corner  of  the  l)Ox.     When 
it   has   been   placed   in   the  proper  position  on   the   box,   a  nail   or  two   should   be  used  to 
hold    it    solid.     The   proper   way   to   ar- 
range this  kind  of   a  drape   in  the  win- 
dow   and    the    manner    of    placing    the 
draping    stand    upon    the    box    is    indi- 
cated   in    Plan   3. 

Only  one  dress  pattern  is  re- 
quired to  form  Drape  7,  but  if  it  is  in 
a  bolt,  sufficient  goods  may  be  used 
for  the  drape  and  the  remainder  can 
be  concealed  when  the  drape  has  been 
completed. 

To  begin  with,  the  goods  are  opened  up  as  usual  and  the  start  is  made  from  the 
left  side  of  the  stand  at  point  A,  Fig.  2.  About  1  yard  of  goods  is  left  on  the  floor. 
Then  take  the  top  selvage  and  arrange  smoothly  over  the  left  hand  side  of  the  fixture 
from  point  B  to  point  C.  Three  inches  are  allowed  to  lap  over  the  top  of  the  stand. 
A  pin  is  first  put  in  at  point  B  and  when  the  goods  has  been  smoothed  out  another  pin 
is  placed  at  point  C.  The  goods  are  then  placed  over  the  right  side  of  the  stand  between 
points  C  and  D  in  the  same  manner.  Then  smooth  the  goods  carefully  down  on  both 
sides  of  the  stand,  being  careful  to  take  out  any  wrinkles  and  bring  out  the  shape  of  the 
stand  strongly.  When  it  is  perfectly  smooth,  place  pins  at  the  points  E  and  F  to  hold  the 
goods  in  place.  Care  should  be  taken  to  make  a  smooth  fold  in  lapping  over  the  goods 
behind  the  top  of  the  stand  at  the  point  C.  The  goods  are  here  pinned  from  behind. 
Then  form  a  sweep  of  three  pleats  on  each  side  of  the  stand.  This  is  done  in  the  same 
manner  as  has  been  fully  described  in  Drape  2.     The  stand  then  appears  as  shown  in  Fig.  2. 

The  next  thing  to  do  is  to  form  the  three  folds  that  appear  at  points  G  and  H  in 
Fig.  3.  These  are  made  as  shown  in  Fig.  4.  The  folds  are  made  as  narrow  as  possible, 
so  that  each  pleat  contains  only  about  1  inch  of  goods.  The  3  inches  of  selvage  left  over 
the  top  of  the  stand  are  sufficient  to  form  these  pleats.  They  are  held  in  place  by  a 
single   pin    from   behind. 

The  loose  end  of  the  goods  is  then  brought  around  in  front  as  is  indicated  in  Fig.  3. 
It  is  taken  up  at  point  I  and  the  selvage  is  turned  over  1  inch.  It  is  then  pinned  with  a 
single  pin  at  point  C.  Place  the  pin  at  the  edge  of  the  goods  and  fasten  at  the  extreme 
forward  point  of  the  stand.     This  is  necessary  to  make  the  folds  fall  properly. 

Two  long  sweeps  are  then  made  in  front.  Each  has  four  pleats  arranged  as  may  be 
seen  in  Drape  7.  The  front  selvage  on  the  lower  pleats  is  turned  under  about  1  inch. 
The  selvage  on  the  upper  pleat  is  turned  under  about  5  inches  at  the  lower  end.  The 
depth  of  the  pleat  depends  upon  the  width  of  the  goods.  If  the  goods  are  very  narrow  only 
three  pleats  can  be  made,  with  goods  of  ordinary  width,  however,  there  will  be  plenty  of 
room  to  make  four  good  pleats. 

To   finish  up   this   drape,  a   rosette   is  made   and   fastened   at   the  point   C.     For  this,  a 

50 


Lessons  in  Draping 


remnant  containing  about   1   yard  or  a  little  more  of  soft   silk   is   required.     It   should  be 
in   harmonizing  or  contrasting  shade,  according  to  the  color  of  the  goods. 

To  make  a  rosette,  fold  the  silk  lengthwise  in  two  even  folds.  Then  pin  one  end 
temporarily  at  point  C.  The  pin  should  be  passed  through  the  selvage  and  the  middle 
fold  of  the  silk,  keeping  the  edges  even.  Then  start  making  the  rosette  as  shown  in 
Fig.  5.  The  goods  are  gathered  in  pleats  1  inch  wide.  Continue  until  all  the  silk  has  been 
ruched.  When  completed  both  ends  (raw  ends)  should  come  on  one  side,  so  they  can 
afterwards  be  pinned  together.  Then  take  the  ruching  and  fasten  the  pleated  ends  at 
point  C  as  shown  in  Fig.  6.  'i'lu-  i)in  must  be  driven  in  very  securely,  as  the  ruching 
has  to  be  handled  later,  and  if  the  pin  pulls  out  all  the  work  will  have  to  be  done  over 
again.  Now  take  the  two  open  ends  (the  raw  edges  of  the  silk)  and  pin  together  to  the 
stand  as  close  as  possible  to  point  C.  This  prevents  the  raw  edges  of  the  silk  from 
showing.     The  rosette  is  then  «pcncd.     This  is  done  by  pulling  apart  the  folds  and  forming 


^ffM 


Dr.ipe  7 


them  in  two  regular  circles  with  one  in  front  of  the  other.  Willi  a  little  arrangement  the 
folds  can  be  made  to  take  the  form  of  a  rose.  .\  little  experimenting  will  enable  the 
trimmer  to  get  some  very  pretty  effects  with  this  rosette. 


ill  narrower  goods,  such  as  challis,  tlanncls,  etc.,  it 
iner.  as  these  goods  are  not  wide  enough  to  cover  a 
ii  of  the  goods.  Tn  this  case,  the  stand  must  be 
ij)  li'n.ntliwise  from  tile  bottom.  This  leaves  the  bolt 
lint  !'.  (  i'i.L;.  'D  tlie  left  hand  rear  sweep  is  formed, 
irward  and  beginning  at  the  lioltom.  tlie  left  hand 
forward  sweep  is  formed.  Then  the  goods  are  brought  down  to  form  the  right  hand 
forward  sweep  and  the  end  is  finally  carried  around  to  make  the  >weep  at  the  back  on 
the  right  hand  side.  With  narrow  goods  only  two  folds  can  be  made  to  each  sweep.  It 
is  easy  however,  to  double  the  goods  back  in  each  sweep,  thus  getting  enough  for  four  folds. 

GO 


If   this    drape    is    to   be    made 
has  to  be  handled   in   a   different    ii 
stand    of    this    height    with    the    w 
covered   first  by  bringing  the  good 
of  goods  at  the  back.     Starting  at  p< 
The  end  of  the  goods  is  then  carried 


Lessons  in  DnAi'iNd 


DRAPE    8 

THIS   drape   is   one   that   is   appropriate   for   almost   any   kind  of  dress  goods,  but   it  is 
especially   adapted   to   the   display   of   plain    material    liaving   a   smooth   soft   surface. 
Only  one  pattern  of  goods  is  required  hut  if  the  fabric  is  in  a  l>olt,  the  surplus  may 
he   concealed   behind   the    stand.     Goods   having   a    pattern,    such    as   plaids,   etc.,   cannot   be 
shown   to   advantage  in  this  manner. 


Fig.l 

The  stand  required  is  the  same  as  shown  in  the  preceding  drape.  It  is  of  extremely 
simple  construction,  being  two  yi  inch  boards  nailed  together  to  form  a  trough  42  inches 
high.      One   of   the   boards    is   8   inches   wide   and   the   other   is   !)   inches.     They   are  nailed 


together  at  right  angles,  so  that  each  face  of  the  fixture  has  a  breadth  of  U  inches.  The 
drape  shown  in  this  plate  is  right  for  the  front  of  tlie  window.  If  it  is  to  l)e  used  at 
the  rear  of  the  window,  it  will  be  necessary  to  have  a  higher  stand  or  to  place  the  42-inch 
stand  upon  a  box  to  elevate  it  to  about  52  inches  or  higher,  in  order  to  preserve  the  per- 
spective of  the  display. 

At  the  beginning  of  this  drape  the  goods  are  opened  up  in  the  usual  way  and  the  bolt 
is  placed  at  the  right  hand  side  of  the  stand,  which  has  been  secured  in  its  place  by  one 

61 


Lhssons  in  Dhai'ing 


or  two  wire  nails  that  arc  drixin  into  the  lliHir.  '\'hv  cml  nr  raw  cdye  of  the  goods  is 
earried  llirec  inches  l)eyond  llie  left  edge  of  the  stand  and  the  nppcr  selvage  is  lapped  over 
the  lop  2  inelus  ai  d  is  i)inne<l  at  points  A,  !'.  and  C.  it  is  then  sni<M)thcd  down  over  the 
front  of  tlie  stand  and  pinned  at  tlie  lower  corners.  I  lu'  uiiltli  of  the  goods  extends  np 
and  down  tiic  stand.  In  other  words,  one  sehage  is  at  the  bottom  and  the  other  at  the 
top.  ]lowcver,  if  single  w^idth  goods  are  used  it  will  l)c  ft)und  necessary  to  run  the  length 
of  the  goods  up  tlie  stand,  beginning  with  the  raw  edge  at  the  bottom. 

Allow   the   goods   to   fall   to   the   floor    at    the    right   and    form   (I   pleats   as   indicated   in 
D,   Fig.    1.      Then   carry    the   pleated   goods   to   the   top   of   the    stand   .and    lay   over   the    rear 


^>^< 


corner  of  the  left  side  as  shown  in  Pig.  2.  The  lower  fold  extends  out  about  '4  inch 
beyond  the  fold  abf)ve  it,  and  this  arrangement  is  continued  with  each  succeeding  fold, 
making  a  miniature  stair  step  effect,  each  lower  fold  extending  ]4  '"^"^i  i'l  front  of  the 
fold  above. 

Draw  out  the  sweep  to  the  right  and  pin  to  the  floor  through  the  selvage  with  one 
pin  at  point  K.  This  point  should  be  at  such  a  distance  from  the  stand  ,'is  allows  the  lower 
fold    (of  the  six)   to  drape  up  closely  to  the  right  side  of  the  stand. 

Now  bring  the  goods  forward,  allowing  for  a  puffing  and  i)ick  up  by  the  upper  selvage 
at  point  I''  in  l'"ig.  ."'..  This  is  a  point  that  allows  for  making  two  front  sweeps  of  equal 
length.  Turn  the  upper  selvage  over  1  incli  and  jiin  point  1'^  to  jioint  ]'.  on  the  stand  and 
the  goods  will  fall  naturally  into  the  folds,  shown  in  Drape  S  and  in  l'"ig.  ,"1  The  gootls 
are  now  arranged  roughly  and  the  mxt  thing  is  to  go  over  the  three  sweeps  and  straighten 
out  the  folds  cart-fully.  I  low  this  is  done  may  be  seen  in  the  drawings  and  has  been 
carefully  exi)lained    in   the  description  of   Drape  2. 

To  complete  the  drape,  an  ornamintal  buckle  ,ind  tluei'  loops  of  soft  satin  ribbon  about 
5  inches  wide  are  required.     Much  depends   upon   the  choice  of  the  colors  of  the   ribbon 

ii-2 


Lrssoxs  IN  Dhaimng 


]'or  example,  if  the  goods  are  liglit  tan  or  silver  gray,  take  pale  pink,  pale  licliotrope  and 
liale  line  rihlions.  The  shades  of  the  rihhon  must  he  in  very  light  pastel  colorings  and 
must  harmonize  perfectly,  otherwise  the  effect  will  he  lost,  if  the  goods  arc  dark  take 
one  color  in  three  shades,  one  very  light,  the  next  medium  and  the  third  moderately  dark. 
To  form  the  loops,  one  yard  of  each  shade  of  rihhon  is  rcfiuired.  Form  each  ribbon 
in  three  pleats  and  place  all  ,of  them  together  and  pin  at  point  P>.  There  are  three  loops 
8  inches  long  extending  upward.  These  are  separated  and  the  ribbons  are  allowed  to 
remain  wrinkled  in  order  to  show  the  varying  light  effects.  Below  are  only  two  loops 
(>  inches  long  of  the  two  lighter  shades.     These  are  straightened  out  to  their  full   width  at 


Drape   8 


the  extremities  of  the  loops.  A  piece  of  the  darkest  shade  is  then  cut  off  and  run  through 
the  buckle,  which  is  placed  separately  in  a  slanting  position  and  pinned  in  place  at  jioint  P>, 
where  the  loops   radiate  from. 

In  Drape  8  the  forward  sweeps  appear  somewhat  longer  than  they  actually  are, 
owing  to  the  perspective  of  the  drawing.  Using  one  length  of  goods  it  would  be  impossible 
to  make  them  as  long  as  these  appear.  The  proper  length,  however,  is  easily  determined, 
as  the  single  pattern  of  goods  will  naturally  bring  out  the  proper  proportions. 

For  a  very  stocky  window  in  which  space  must  be  economized,  this  drape  may  be 
constructed  without  the  front  sweeps.  In  this  case  the  buckle  is  not  used  and  the  trimming 
is  applied  in  the  manner  shown  in  Drape  9. 


63 


LkSSONS    in    DH.\PIN(i 


DRAPE    9 

THE  stand  used   in   this  drape  is  the  same  as  was  described  in   Drape  7.     It  is  made 
of  two  ^-inch  boards  42  inches  long.     One  of  them  is  9  inches  wide  and  the  other 
8  inches,  and  when  they  are  nailed  together  as  shown  in   Fig.   1,  the  two  faces  of 
the  ti.xture  are  9  inches  wide.     Further  comments  on  the  construction  and  use  of  this  stand 
will  be  found  in  the  description  of  Drape  7. 

For  this  drape  a  straight  upright  sliouKl  be  added  to  this  stand.  It  is  a  ^  by  3^  inch 
strip  nailed  securely  to  the  back  edge  of  the  right  hand  side  of  the  stand  and  extends  27 
inches  above  the  regular  stand.  Then,  before  beginning  to  drape,  pick  out  the  proper 
spot  in  which  the  stand  is  to  be  placed  and  nail  it  tightly  to  the  floor,  as  the  weight  of 
the  goods  is  mainly  on  ,one  side  and,  mik-sh  secnrely  fastened,  the  stand  is  likely  to  topple 
over. 

To  begin  with,  the  goods  are  placed  as  may  be  seen  in  Fig.  2.  After  having  unfolded 
the  bolt,  as  usual,  the  stand  is  covered  and  in  this  connection   it  may  be  well  to  impress 


the  fact  that  draping  broadcloths  or  any  other  goods  that  has  a  nap,  it  should  always  l)e 
draped  so  the  nap  runs  down  instead  of  up.  Take  the  end  or  raw  edge  of  the  goods  and 
bring  it  up  over  the  top  of  the  lower  part  of  the  stand.  Five  inches  of  selvage  is  allowed 
to  fall  over  the  top  of  the  stand.  It  is  first  pinned  at  the  point  A  and  another  pin  is 
placed  at  point  B,  Fig.  2,  being  careful  to  keep  the  goods  folded  straight  along  the  edge 
between  A  and  B.  The  surplus  goods  at  the  back  is  tlien  tlrawn  up  and  a  pin  is  placed 
at  C.  Then  draw  the  goods  smoothly  over  the  front  of  the  stand,  being  careful  to  take 
out  all  wrinkles.     Place  pins  at  the  points  D  and  E. 

You  now  take  the  surplus  of  the  goods  at  the  right  side  of  the  stand.  This  will  usually 
be  about  half  the  widtli  of  the  piece.  Gather  it  in  two  pleats,  as  shown  in  F,  Fig.  2,  and 
fold  the  upper  edge  around  the  upriglit  and  pin  at  a  point  7  inches  al>ove  the  top  of  the 
lower  part  of  the  stand.  It  will  then  fall  in  two  even  pleats  as  shown  in  Fig.  3.  This 
having  been  done,  fini.sh  smoothing  out  the  goods  used  to  cover  the  stand  and  arrange  the 
!?urplus  at  the  bottom  in  neat  folds.  The  pins  are  all  placed  in  tlie  back,  where  they 
will  not  show,  and  the  temporary  pins  at  points  A,  B,  C.  D  and  E  are  taken  out. 

The  next  thing  to  do  is  to    form  the   four  large  pleats  at  the  right.      Hefore  lieginning 

64 


Lr.ssoNs  i\  Dhmmng 


them  the  siirphis  goods  should  be  carried  to  tlic  right  and  then  brought  to  tlie  top  point 
of  the  upright.  This  is  to  determine  how  much  goods  must  be  allowed  to  form  the  sweep 
and  the  puffing  in  front  of  it.  Then  having  allowed  for  the  puffing,  lay  the  goods  on  the 
floor  (behind  the  stand)  and  form  four  equal  pleats.  Care  should  be  used  to  keep  the 
goods  from  getting  twisted  during  this  operation  and  the  right  side  should  always  be  kept 
uppermost  and  toward  the  front. 

The  pleated  section  is  then  lifted  up  and  placed  over  the  top  of  the  upright  as  shown 
in  Fig.  5,  leaving  the  surplus  to  fall  l;L-hind  the  stand.  The  edges  of  the  pleats  should  be 
made  to  extend  exactly  to  the  front  edge  of  the  upright  (no  further).  A  temporary  pin 
is  placed  in  the  top  to  hold  the  pleats  while  the  sweep  is  being  formed. 

To  form  the  sweep  carry  the  goods  out  to  the  right  and  pin  to  the  floor  with  a  single 
pin  through  the  upper  selvage.  The  distance  from  the  stand  to  the  point  on  the  floor 
where  the  pin  is  placed  is  determined  l)y  the  width  of  the  goods.  It  should  be  placed 
just  far  enough  away  so  the  lower  ctlge  of  the  sweep  meets  the  outer  edge  of  the  two 
pleats  that  have  already  been  formed,  as  shown  in  Fig.  :?.  When  the  goods  have  been  pinned 
in  the  proper  place  the   folds  of  the  sweep  will  fall  into  place  naturally  and  little  adjust- 


drape   and  arrange  tb.e   four   folds  so  they 
The  puffing   should   then   be   arranged  as 


and 
Draw 


nient  will  be  needed.  Step  out  in  front  of  tht. 
fall  evenly  and  smoothly  as  shown  in  Drape  ! 
can  be  seen   in  the   drawing. 

Now  step  to  the  back  of  the  stand  and  smooth  out  the  pleats  that  fall  down  over  the 
left  side  of  the  upright.  Having  gotten  the  edges  together,  pin  at  point  G  in  Fig.  G.  This 
is  done  to  get  this  part  of  the  goods  into  a  small  compass,  where  it  cannot  be  seen  when 
the  drape  has  been  completed.  At  the  top  of  the  upright  the  rear  edges  of  the  pleated 
goods  extend  out  some  distance.  Bring  these  edges  to  a  point  at  the  extreme  top 
carry  the  point  around  to  the  left  until  it  reaches  to  the  front  of  the  upright, 
this  point  tightly  and  pin,  as  shown  in  the  Fig.  G.  Then  remove  the  temporary  pin  from  the 
top  of  the  upright.  The  purpose  of  this  is  to  bring  the  top  of  the  upright  to  a  small  point 
where  the  goods  cannot  be  seen  when  the  drape  is  finished. 

You  then  draw  out  the  surplus  end  of  the  goods  and  doul)le  it  in  the  middle  lengthwise 
with  the  right  side  out.  This  leaves  a  reversed  crease  where  the  original  fold  was.  To 
keep  the  crease  out  of  sight  the  goods  should  be  folded  about  y>  inch  to  one  side  of  the 
middle  and  the  crease  should  be  made  to  come  on  the  inside  of  the  pleats  that  are  made 
afterward.  The  pleats  are  made  as  shown  in  Fig.  7.  Beginning  at  the  end.  four  pleats 
are  made,  each  one  being  17  inches  long.     When  the  four  pleats  have  been  made  they  form 

65 


Lkssoxs  in  Dhapinc. 


a  doulili.'  liKip,  as  appears  in  I'i.ii.  iS.  'J'lu'  lop  middle  conur  is  ]iiniKil  with  a  single  pin  to 
the  top  of  the  upright  and  tlie  folds  aif  allowed  to  fall  to  the  right  in  front  of  the 
upright.  In  placing  the  pleats  in  i)osition  care  must  be  taken  to  turn  the  side  with  the 
raw  edge  behind,  next  to  the  upright,  otherwise  the  edge  will  show.  Draw  the  upper  edges 
out  to  the  right  and  get  them  perfectly  smooth  and  even.  The  distance  along  the  top 
from  I  to  J,  Fig.  8,  should  be  15  inches,  as  2  inches  has  been  used  for  pinning.  Allow 
the  right  edges  of  the  pleats  to  fall  inside  of  the  top  of  the  fixture,  as  shown  in  Fig.  8. 
When  the  edges  of  the  pleats  have  been  made  perfectly  even,  draw  the  goods  down  to  the 
point  H,  Fig.  9,  and  pin  to  the  front  of  the  upright  where  it  joins  the  lower  part  of  the 
stand.      The   goods   ])etween   the   top    of  the   upright   and   the   point    H   must   l)e   sufficiently 


tight  to  prevent  any  wrinkles.  What  remains  of  the  left  side  of  the  pleats  is  drawn  around 
behind  the  upright  and  pinned  out  of  sight.  This  leaves  the  top  as  it  shows  in  Fig.  9. 
Then  bring  forward  fold  around  to  the  left  side  leaving  the  right  fold  where  it  was  orig- 
inally. This  makes  two  equal  triangles,  one  standing  out  on  each  side  of  the  upright  as 
shown  in  Plate  9.  To  hold  them  in  place  take  two  pieces  of  light  wrapping  paper  folded 
twice    and    cut    very    slightly    smaller    than    the    triangles.      This    paper    is    inserted    at    the 


top  on  each  side.  It 
that  the  edges  appeai 
The  triinming  fo 
and  a  piece  of  inseri 
of  the  stand  and  beneath  the  first  fold  on  ilu'  riol 
Uring  the  lace  and  ribbon  horizontally  around  to  tl 
from  the  left  side.  Then  double  back  and  |>in  as 
down  at  an  angle  of  45  degrees  which  makes  it  li 
ribbon  which   is  allowed  to  drop  down  over  liie  pin 


nut  smoothly  Init  not  so 
answer  for  this  purjiose. 
Take  a  piece  ■of  ribbon 
Is  1  incho  from  the  top 
t  so  the  ends  and  ])in  cannot  lie  seen, 
e  top  of  the  stand  to  a  point  3  inches 
shown  in  l'"ig.  Kl  The  pin  is  slanted 
r  directly  in  line  with  the  fold  of  the 
as  shown   in   big.    11.     The  ends   of   the 


Lessons  in  D raping 


ribl)on   and  lace  arc  drawn   onl    in    fronl    of  llu'  stand   in   a   .m-accl'ni  curve  and   tlu'  ends  arc 
turned   under. 

Drape  IX  P.  is  made  in  the  same  manner  as  Drape  9  except  the  lop  and  trimmings. 
The  top  is  made  in  two  donhle  loops  instead  of  one  double  loop.  The  middle  top  folds  arc 
pinned   at   the   top   of    tlie   upright   and   the   triangles   are   arranged   as   may   l)e    seen   in   the 


drawing.     Tn   order   to   get    a    ditierent   effect   the   edge   of  the   goods   is   turned   in   .'5   inche 
at   the   outer   points   of   the  triangles.      This   gives   the   folds    a   broader,   softer   appearance 


Drape 


The  manner  of  api)lying  the  trinnning  in  Drape  iX  I!  is  the  same  as  in  Drape  !',  except  lliat 
the  ribbon  is  narrower  and  is  applied  separately.  This  style  of  drape  serves  i)erfectly  for 
light  flannels  and  waistings  in  which  case  a  small  button  can  be  placed  where  each  riblion 
turns  to   fall  on   the  floor. 

67 


LkSSONS    in    DF^\PIN(i 


DRAPE    10 

THE  stand  for  tliis  drape  has  the  same  Ijasc  as  those  used  in  other  drapes.     The  upper 
part   will   be   understood    froui    the   accompanjing    drawing,    Fig.    1.     The   top   is    a 
slanting  oval.     This  drape  may  be  built  in  any  height.     It  is  especially  appropriate 
for   high   drapes   at   back   of   window.     The   stand    is   jilaccd    with    face    (jf  tlie  oval   square 
to  front.     This  point  is  important. 

The  goods  are  opened  in  usual  way  and  laid  right  side  up  at  left  of  stand.  If  a  bolt 
of  goods  is  used,  only  open  enough  to  conii)ltle  the  drape,  as  it  is  easier  to  handle  that 
way.  Carry  end  over  to  the  riglit  of  tlie  stand,  leaving  about  three  yards  surplus  on 
tloor  for  the  pufting  in  front  when  the  drape  i>  linished.  TIkii  pick  up  the  gcjods  in  frout 
of  the   stand   by    the   back    selvage  and    jiin    to   the   tn])    of  the   lower   part    of   stand    at   point 


A,  Fig.  2,  which  is  about  -^  feet  from  floor.  The  folds  of  the  goods  arc  now  drawn  roughly 
to  the  right  and  left,  leaving  a  wide  section  of  material  formed  by  the  width  of  goods 
directly  in  front  of  the  stand.  This  is  carefnllv  draped  smooth  and  the  l<iwer  selvage  is 
drawn  out  s(jmi'  di^tancr  in  front  of  the  stand  (about  l'  feet)  or  S  or  In  inches  of  the 
lower  edge  lies  tlat  on  the  floor  and  the  remainder  >lopes  in  a  graceful  curve  up  to  point 
A,  where  it  is  pinned.  Then  form  three  ileep  even  jdeats  on  the  right  hand  side  as  shown 
in  Fig.  2.  Three  pleats  are  made  on  the  left  side  in  same  manner.  The  bolt  of  goods  is 
now  carried  over  to  the  right  side,  leaving  enough  goods  on  the  tlo«u-  at  the  left  to  form 
the  long  sweep  shown  in  Drape  lt>.  Pick  the  goo(|>  up  in  the  middle  in  front  of  the  stand, 
and  place  it  so  the  back  selvage  hangs  1  inch  over  the  lack  of  the  o\al  top  of  the  stand. 
The  goods  should  be  placed  perfectly  straight  over  the  top,  otherwi>e  the  folds  will  not 
fall  evenly.  The  luxl  m<ive  i^  to  form  the  long  sweep  at  the  left.  This  is  done  in  four 
pleats  of  even  depth.  The  frout  selvage  is  turned  under  slightly  and  the  pleats  are  formed 
as  has  been  described.     Four   pleats   are   formed   in   the   same  manner  on   the   right   hand 


Lessons  in  Draping 


sweep.  In  Drape  ]0  the  rit;ht  and  left  sweeps  arc  shown  with  three  or  four  pleats,  respec- 
tively, as  the  drape  may  lie  constructed  cither  way,  as  the  numher  ,of  pleats  depends  upon 
len  possihlc,  use  the  greater  number  of  pleats,  as  they  improve 


the  width  of  the  goods.     When  p 
the  appearance  of  the  drape. 

The  goods  are  now  hanging  in  loose,  uneven  folds  from  the  front  and  sides  of  the  oval. 
The  next  thing  is  lo  arrange  tluin  in  small  even  folds  as  shown  in  Fig.  li.  This  is  done 
Iiy  l)eginning  in  the  middle  and  fdrmiug  small  round  folds  that  (urn,  on  the  right  side 
nd  on  the  left  slightly  toward  the  left.     The  beauty  of  a  round 


.slightly  toward  the  right, 


4V^" 


or  oval  top  stand  is  that  as  many  folds  as  desired  may  he  made  in  the  goods.     No  matter 
whether  they  be   few  or  many  they  adjust  themselves  perfectly  at  the  top  of  (he  stand. 

Then  take  the  surplus  of  goods  that  was  left  at  the  right  hand  side  at  the  beginning 
of  the  drape,  and  puff  in  a  semi-circle  clear  around  to  the  left  hand  sweep,  where  the 
end  of  the  goods  is  turned  under  as  is  shown  in  Drape  10.  (M  course  the  puffing  is  not 
necessary  if  the  drape  is  placed  at  the  back  of  the  window  where  the  lower  part  will  not 
show.  In  a  stocky  W'ind(nv  where  stands  are  placed  close  in  front  of  each  other,  the 
lower  part,  shown  in  I'ig.  2,  need  not  be  constructed,  nv  it  may  be  done  with  a  short 
end  of  the  goods  sufifieient  only  to  conceal  the  stand.  The  beauty  of  this  drape  lies  in  its 
simplicity  and  in  the  fact  that  very  little  time  is  required  to  construct  it.  Inirthermorc 
there  is  not  a  pin  used  in  the  whole  drape  except  the  one  through  the  selvage  at  point  A 
(unless  the  slope  of  the  stand  makes  it  necessary  to  place  one  at  the  back  of  the  top). 
This  makes  it  a  good  drape  to  use  with  heavy  expensive  goods.  It  is  principally  adapted 
for  broadcloths  on  account  of  the  beautiful  lustre  that  is  brought  out  better  in  the  graceful 
folds  of  this  drape  than  in  any  other.     It  is  not  a  good  drape  for  mixed  or  ligurcd  goods. 

The  sloping  oval  top  stand  is  used  for  high  drapes  at  the  back  of  the  window,  as  other- 

69 


Li:ss()NS  IN  1:)h\pin(; 


wise  the  top  could  not  he  seen.  For  lower  drapes  in  tin-  trunt  nf  the  windnw  a  round  u>\) 
placed  horizontally  is  used  as  shown  in  Im.u.  4.  I^.r  the  front  row  the  stand  is  placed 
about  4  feet  hitih.  In  this  case  not  much  material  is  rciinircd.  A  single  dress  pattern  will 
do.  If  the  goods  are  not  wide  enough  to  nach  the  lloor.  the  hase  of  the  stand  will  have 
to  he  covered  with  the  end  of  the  goods.  One  dress  pattern  contains  ample  goods  to 
accomplish  this. 


Another  variation  of  thi^  (h-ajie  may  he  made  over  a  stand  with  a  sloping  circular  top 
placed  so  the  top  slants  toward  the  l)ack  instead  of  toward  the  front  as  shown  in  iMg.  'i. 
The  goods  are  arranged  to  fall  from  the  upi)er  edge  instead  of  across  the  face  of  the  top 
and  in  order  to  get  the  right  effect  the  whole  surface  of  the  top  must  l«e  covered.  This 
style  of  goods  .should  be  used  on  high  stands  at  the  back  of  the  window. 


70 


Ll-SSONS    IN    Dhai' 


DRAPE    11 

ORIGIXALITY  in  window  display  lies  lar-cly  in  littK-  things— m  the  little  trifles  that 
arc  sometimes  overlooked  or  considered  not  worth  hothcrin-;  with.  The  whole  effect 
of  a  drape  frequently  depiiuls  upon  a  single  deft  turn  of  the  goods  or  upon  some 
little  piece  of  embellishment  that  is  apparently  imimportant  in  itself.  We  have  all  fre- 
quently seen  dressgoods  windows  in  wliich  the  goods  were  well  handled  but  struck 
the  observer  as  being  commonplace.  A  little  trimnn'ng  in  the  right  i)laces  would  change 
these  windows  w-onderfully.  This  is  i)articular!y  true  of  woolen  dress  goods.  When 
shown  in  a  window  they  slionld  inxariahly  he  Iirightencd  u\)  a  hit  with  buckles,  buttons 
or  bits  of  appropriate  trimmings.  The  difference  I  ?twecn  a  couuuouplace  drape  and  a 
highly  effective  one  may  lie  in  the  placing  of  a  bit  of  colored  riI)l)on  or  a  few  handsome 
buttons. 


Figures 


Figure  1  shows  a  drape  stand  that  is  easily  made  and  over  which  it  is  possible  to 
make  a  number  of  simple  attractive  drapes.  It  is  made  as  follows.  Place  a  roll  of  heavy 
cardboard  about  eighteen  inches  long  by  four  or  five  inches  in  diameter,  on  top  of  an 
extension  T-stand  from  which  the  top  1)ar  has  been  removed.  Push  the  upright  rod 
through  the  lower  side  of  the  cardboard  cylinder  and  through  the  top,  run  a  wire  nail 
to  meet  the  rod.  In  this  way  the  cylinder  may  be  adjusted  in  any  desired  angle  and  is 
held  iirmly  in  place  on  the  top  of  the  stand.  These  dimensions  are  not  arbitrary  and  are 
only  used  as  an  illustration.  The  cylinder  may  be  made  any  size  with  satisfactory  but 
different  results.  Xor  is  it  necessary  to  make  the  cylinder  of  cardboard.  Wood  will 
answer  very  well  but  the  cardboard  serves  the  purpose  and  is  more  easily  procured  and 
can  be  handled  with  greater  facility.  The  rolls  upon  which  linoleums  are  rolled  can  be 
cut  up   for   this  purpose   and   arc   very   satisfactory. 

71 


Lkssons  in  Draping 


For  a  drape  showing  a  side  effect,  lay  the  ii'nuU  over  the  cyhnder  flat  or  in  pleats 
as  desired,  allowing  the  end  of  the  material  to  fall  lahind  the  stand,  the  goods  coming 
forward  and  falling  to  the  floor.  The  edge  is  then  turned  undir  and  the  piece  is  lifted  up 
and  draped  over  the  forward  end  of  the  cylinder,  as  shown  in  fig.  2.  The  graceful  folds 
will  form  naturally  just  helow  the  cylinder  and  all  that  is  necessary  is  {n  arrange  the 
sweeps  of  goods  that  extend  down  to  the  lloor.  Tlu'  end  of  the  material  is  then  carried 
around  behind  the  stand  and  the  same  operation  is  repeated  at  the  other  end,  as  shown 
in  Fig.  3. 

The  height  of  the  stand  makrs  no  ditTerence  except  in  the  amount  of  goods  required 
to  accomplish  the  drape.  The  trimming  is  then  applied  and  this  may  he  anything  suitable 
tliat  is  at  hand.  In  iMg.  :!  the  trinuuing  consists  of  two  contra.sting  ribbons,  a  buckle  and 
a    few   buttt)ns.     The   ribbons   ht   snugly   over  the   i)erfectly  smooth   surface  afforded  by  the 


cardhoar.l  under  the  drcssgoods.  The  cardboard  also  makes  it  possible  to  attach  the  buttons 
neatly  ami  without  damaging  the  goods,  as  small  pins  can  easily  be  pushed  through  the 
cylinder. 

Another  good  idea  is  shown  in  I-ig.  1.  An  oval  is  cut  from  very  heavy  cardboard  or 
thin  wood  and  fastened  at  an  angle  to  tiie  top  of  a  stand.  The  goods  are  thn.wn  over 
the  oval  and  draped  at  the  sides  in  the  usual  manner.  I'.ul  over  the  (nal  which  has  been 
previously  cut  to  fit  the  same  place  a  narrow  gilt  frame.  F.Muieen  by  seventeen  is  a  stock 
size  and  gives  a  good  effect,  as  it  is  large  enougli  to  display  ;,  considerable  area  of  mate- 
rial within  the  oval,  and  is  not  too  heavy.  However,  alm,,si  ,auy  si/e  that  may  be  fouml 
in    the    picture    departnient    can    Ic   made    available    for   the    purpose.      it    is   of   course   not 

72 


Lessons  in  Dr.mmn(. 


necessary  that  a  gilt  frame  be  used.  Silver  or  a  colored  one  may  lie  pressed  into  service, 
but  care  should  be  exercised  to  pick  one  that  will  harmonize  well  with  the  goods.  Over 
the  face  of  the  goods  but  under  the  oval  may  he  run  a  diagonal  band  of  insertion,  ribbon 
or  other  trimming  appropriate  to  the  character  of  the  goods  used  to  make  the  drape. 
Some  large  buttons  might  also  be  used,  Imt  they  should  lie  of  a  striking  pattern  in  order 
to  attract  notice.  This  makes  a  neat,  clean  drape  with  just  enough  difference  in  appear- 
ance to  attract  attention. 


FiQ,aro  ^ 


There  are  endless  other  little  touches  tliat  will  brigliten  U])  a  window  woiiderfidly 
and  the  trimmer  can  easily  think  tliem  out  if  he  sets  his  mind  to  it.  lie  should  be  con- 
stantly on  the  lookout  for  ideas.  Whenever  lie  sees  anything  in  the  store  (or  out  of  it, 
for  that  matter)  that  has  a  decorative  \aluc,  he  should  try  to  think  up  some  way  in 
which  it  can  l)e  used  in  his  windows.  If  one  will  do  this  consistently  and  witii  j\u!gment. 
he  need  never  lack  for  ideas  and  his  work  will  take  on  an  originality  that  it  would  not 
have  otherwise. 


73 


LfvSsons  in  Draping 


DRAPES  12,  13  AND  14 

Till',  three  drapes  that  we  show  herewith  can  he  executed  hy  any  trimmer  very  easily. 
These   drapes   are    arranged   over   home-made   fixtures   tliat    take   only   a   short   time 
to    make.      Every    trimmer   should    consider   the   advantages   derived    from    new    and 
original   drapes   that   can   be   made   without   the  cost   of   special    fixtures,   especially   for  yard 
goods,  because   the    fixtures   are    invariably    hidden. 

The  top   of  the   stand   used    in   the   drape    shown    in    Drape    li'   is   cut   in   the  shape   of  a 
half  crescent.     The   small   drawini;   of   the   stand   shown    in   this    first   illustration   shows   the 


Drape  12 


shape.     This  top  is  tilted  at  an  angle  of  45  degrees,  being  (!  inches  wide  at  the  base  and  27 
inches  in  length.     The  stand  itself  can  be  made  any  height  desired. 

Start  the  drape  on  the  Hoor  at  the  back,  bringing  it  up  to  the  point  at  top  of  crescent. 
Fasten  the  selvage  of  the  goods  along  the  outer  edge  of  crescent,  leaving  the  goods  hang 
in  natural  ripples  inside.  Drop  the  goods  to  the  ftoor  after  leaving  base  of  the  half  crescent, 
allowing  enough  for  a  long  sweep  on  the  floor.  Xow  bring  the  goods  up  to  the  outside 
point  of  the  base  of  half  crescent,  pin  the  selvage  and  drop  to  floor  in  graceful,  sweeping 
folds,  as  shown  in  the  drawing. 

The  bows  of  ribbon  shown  at  the  top  and  base  of  the  half  crescent  not  only  cover  the 
pins  that  hold  up  the  drapes,  but  add  just  that  bit  of  necessary  finishing  touch  that  com- 
pletes the  drape  in  every  detail. 

The  Drape  No.  b?  is  arranged  over  a  fancy  crescent  top.  as  shown  in  the  small  drawing. 
This  top  is  placed  at  an  angle  of  45  degrees  and  is  18  inches  across. 

To  make  tlie  drai)e  bring  the  goods  up  from  the  floor  to  A  and  pin  the  selvage  all 
around  the  outer  I'dge  to  C,  then  droj)  to  floor.  Xtnv  bring  goods  around  to  the  back 
and  n[)  to  C.  and  drop  to  floor  in  long,  graceful  folds.  Now  full  the  goods  along  on  the 
fl(jor  at  the  edgi-  of  goods  that  were  thrown  over  the  stand  until  you  come  to  front  of 
drape,  where  you  bring  goods  up  to  A  or  front  of  to]).  After  these  two  long  sweeps  of 
graceful  folds  arc  arranged  the  goods  are  fulKd  on  the  floor  and  brought  up  in  sweeping 
folds  to  B,  as  slujwn   in   the  drawing. 

71 


Lkssons  in  Draping 


At  B  is  arranged  a  riblMin  Iiow,  with  three  grachiatcd  loops  fastened  to  the  lop  of 
stand.     A  bnckie  or  bntton   coidd   he   plaeed    at   jioint   A. 

in  Drape  Xo.  14  we  sliow  a  stand  witli  a  pcrfeet  crcsccnt-shapcd  top.  This  top  is 
24  inches  from  p.oint  to  point  and  (!  inches  tlirough  in  the  widest  part.  It  is  fastened 
to  the  stand  at  an  angle  of  45  degrees. 


Drape  13 


This  drape   is  very   simple,  the  drape  l)eing  bronght  up   fnim  the  floo 
fastened   all  along  the  outer  edge  of  crescent,  then  dropped  to  the  tloor, 


and  one  selvage 
dentv  of  fullness 


Drape  li 


being  left  on  the  floor.  You  take  selvage  and  pin  in  the  very  inside  of  crescent,  and  then 
drop  goods  to  floor  on  other  side  of  stand.  This  gives  you  a  chance  to  arrange  the  goods 
in  three  wide  folds,  as  can  be  seen  in  the  drawing. 

A  pretty  finish  for  this  tlrape  would  be  the  placing  ,of  a  bow  and  streamers  of  ribl)on 
on  either  the  right  or  left  side,  or  rather  points  of  the  crescents.  Without  this  the  drape 
would  be  a  bit  svnnnetrical. 


Lkssons  IX  Dmaimng 


DRAPE    15 

WV.  HAVE  advanced  far  enough  n< 
sons  so  tliat  it  should  be  very  cas 
to  iigurc  out  how  any  drape  is  i 
may  run  across. 

You   can    readily  see   that  jou   now- 
fundamental  principles  of  all  draping— am 
this   ]irinciplo   enters   into  every   drape  yo 
studied. 

Therefore  in  showing  you  ovu-  Drai 
see  that  after  we  show  you  the  draping 
1   with  a  lialf  circle  top  you  can  at  once 


)w  ni 

our 

Ics- 

y  f.,r 

you 

now 

iiade 

that 

you 

have 

had 

the 

(1  can 

see 

lloW 

n   lia\ 

e   so 

far 

.e    lo 

von 

can 

stan( 

1   in 

Fig. 

follnu 

out 

the 

Pig.  1 

movements      shown      in     Fig.     2 
and    in    the    completed    drape. 

It  is  also  more  than  prob- 
able that  you  could  originate 
quite  a  \aricty  of  other  drapes 
for    use    on    this    same    stand. 


r- 


Tig.   2 


Every  drape  that  you  sec 
should  suggest  to  you  other 
drapes  of  a  similar  nature,  an  1 
by  this  i)rocess  you  arc  al)le  to 
make  up  drajjcs  tiiat  in  many 
cases  are  absolutely  new  ; 
original. 

The  arrangement  of  trim- 
mings and  i)lacing  of  accesso- 
ries can  also  be  done  in  such 
a  manner  that  the  drai)c  will 
look    entirely    different. 


Drape  15 


Lessons  in  Draping 


DRAPES    16,    17,    18   and    19 


THE  beauty  of  a  display  of  dress  faljiics  lies  in  its  simplicity.     The  simpler  and  more 
adapted  to  its  purpose  the  execution  of  the  decoration,  the  better  is  the  effect.     This 
refers  especially   to   fall   and   winter   fabrics,  which  in   their  rich,   heavy  texture  and 
quality,  demand  a  plain  uncomplicated  trealnicnt.     Richness  lies  in  tlie  very  fabric  itself,  and 
in   the   making    of    the    same    into    suits    and    costumes   the    tailor-made    is    generally   given 
preference. 

To  relieve  a  plain  fabric  of  monotony  and  s,ombernes 
In  this  way  one  can  overcome  the  cold  and  unattracti\e 


well  toad 


)m 


1(1  i)lea: 


,ph 


nijinati 


bright  oAor. 
low  and  create 
•t.  Just  as  in  a 
princi[)al  jjoint 
nd  lilendim;   of 


CO 


COWAtN  - 

Drape  16 
6  with  different  trimming 


If  you  have  at  your  disposal  a  num- 
ber of  windows  and  intend  to  have  a  great 
display  of  dress  goods  say  in  about  five 
windows— then  should  each  of  these  win- 
dows be  decorated  in  one  color;  that  is 
one  color  in  several  different  shades.  Then 
add  the  ornamentation  in  contrasting  col- 
ors— if  possible  in  two  shades. 

For  instance,   decorate   one  window   in 
silver  gray  cloth   and  take   for  ornamenta- 
tion  champagne    tones   and   yellow.      Or   a 
Same  as  Drape  6  with  different  trimming  brown     window     in     different     shades     and 

trimmed  with  old  rose  and  pale  pink— one  color  in  two  or  three  different  shades,  deep  in 
tone  and  soft  in  effect.  This  may  consist  of  velvet,  velvet  ribbon  or  silk,  but  sparingly  as 
bows,  knots,  etc. 

This  color  effect,  say  in  three  shades,  from 
lightest  champagne  to  yellow,  must  be  carried  out 
to  some  extent  h\  the  additional  trimming ;  for 
example,  a  hat  trimmed  in  silver  gray  velvet  with 
yellow  plumes,  etc.  If  it  is  intended  to  make  this 
display  more  lirilliant  and  elegant  add  a  few  sets 
of  furs — ermine  and  chinchilla  corresponding  in 
tone  with  the  shades  of  gray  in  the  window ;  a 
fine  silk  umbrella  with  silver  handle,  white  or 
silver  gray  gloves. 

According  to  this  detailed  description  of  a 
window  many  handsome  displays  can  be  pro- 
duced, always  in  one  color,  with  corresponding 
ornamentation.  All  other  articles  added  must  be 
in  harmony  with  the  whole  color  scheme  of  the 
window. 

The  accompanying  drawings  will  illustrate 
simple  display  of  dress  goods,  and  will  show  ho 

77 


Drape  17 
Same  as  Drape  5  without  the  hi; 


.  back  Drape 


Li;ss()Ns  IN  Dhaimnt. 


easily  a  rich  and  cl"U-cti\  c  (Icoiiralinii  can  lie  iirnduced  with  very  few 
tion  of  such  a  display  is  iiiosl  simple,  nnly  <;ieat  care  nuist  he  used  ii 
the  material. 


arliclo.     The  prnduc- 
ihe  proper  draping  of 


In  Drape  Hi  the  stand  on  which  the  material  is  draped  is  made  of  a  T  shaped  stand, 
on  which  a  Ijoard  of  4x24  inches  is  fastened  at  an  angle  of  thirty-five  degrees.  Over  this 
spread  the  material  smoothly,  letting  it  fall  to  the  floor,  returning  it  again  to  the  board  and 
fasten  it  to  the  front.  Let  it  fall  in  natural  folds  again,  then  lay  six  even  folds  on  the  upper 
edge  of  the  board  and  s{)read  them  out  wide  and  gracefully  on  the  floor.     As  ornamentation, 

lieavy  lace  and  velvet  rib1)on  are  selected. 
This  arransiement  is  shown  plainly  in  the 
illustration   an.l   should   lie   followed  clo-ely. 

Drape  IT  is  the  same  T  shaped  stand 
but  the  l)oard  is  horiz,ontal.  The  arrange- 
ment of  the  material  is  the  same  only  the 
ornamentation  being  difi'ereilt.  A  fur  set, 
umbrella  and  gloves  finish  this  group. 

For  Dra))e  IS  a  T  shaped  stand  is  used 
which  has  a  top  ten  inches  square.  The 
finish  of  this  is  very  siiuple  and  shows  a 
particularly  handsome  and  graceful  sweep, 
which  is  ])roduced  by  fastening  the  mate- 
rial on  the  corners  with  pins,  letting  it  then 
lind  its  own  natural  folds.  Gloves,  um- 
brella and  buttons  will  here  serve  as  or- 
naments. 


Same  as  Drape 


Drape  18 

2  with  different  trimming 


For  Drape  19  are  used  two  boards 
joined  in  a  right  angle.  The  goods  are  at 
first  stretched  over  smoothly  and  the  folds 
arranged  on  the  floor;  folds  on  the  front 
edge  emerge  from  a  knot  of  velvet.  These 
figures  show  th;it  the  material  can  be 
drai)ed  in  a  rich  and  handsome  way  with- 
out  iiijurv    from  crushing. 


ref|uire  no  e 
we  may  mention 
are  especially  ad 
weight  materials 
use  the  above 
forms  combined 
varied    displav    n 


hese   styles   of  draping,   whic 
pecial  preparation  or  expens 


the   draping  forms   which 

ipted    for  the   use  of   light 

It    is    also    advisable    to 

figures     and     the     (lr;iping 


this     way 
produced. 


ire 


Drape   10 
Same  as  Drape  7  with  back  drape  left  off  on  one  side 


78 


Lessons  in  DiupiNd 


DRAPE     ON     SLOPING     CYLINDER     TOP     STAND 


THIS    fixture   lias   a    sloping   lop 
measuring  24x4  inches.  Heavy 
cardboard    is    tacked    to    the 
sides  of  this,  bending  it  over  the  top, 
thus  giving  a  half  round  effect.  Trim  ^ 
the    front    and    hack    edges    of    this,^ 
cardboard    so   the    edges    will    be    per-B 
pendicular.  " 

In  starting  the  drape,  bring  the 
goods  over  the  top,  end  ,on  the  floor 
in  front,  and  surplus  hanging  over 
front  edge.  Selvage  of  goods  should 
hang  perfectly  straight  down  to  the 
floor  (P^ig.  2) 


tesy  .Arlington  Mi 


Ne'xt,  carry  the  goods 
out  on  the  floor  at  the 
sides  and  return  the  sel- 
vage edge  up  over  the 
end  of  the  cylinder  as 
shown  in  Mg.  :>.  Let  thi-- 
come  down  to  the  floor 
in  a  long  sweep,  then 
return  the  selvage  edge 
up  over  the  top  of  stand. 
Pin  the  point  of  the 
folds  over  the  top  gath- 
ering the  folds  in  a 
hunch  as  it  is  carried 
ovt'r  the  top.  Arrange 
each  of  the  sweeps  in  '^ 
distinct  folds,  the  third 
sweep  coming  down  and 
crossing  over  the  lower 
part  of  the  second. 


Drape  20  7<) 


Lfssons  in  Dhafinc. 


SLAB  DRAPE  21 

THIS   lixlure  should  1)C  made  of  thin  hnnl)cr  or  some  nf  the   well  known  wall  boards. 
Dimensions,  27x5  inches  and  5  feet  high. 
Cardboard  is   fitted  over  the  top  in  a  rounded  effect. 
If  wall  boards   .such   as   Beaver   r.oard,   Upson   Board   nr  I'tility  Board   are  used  it  will 
mean   that  you   must  make   a  w.ooden   frame  as  a   foundation   on   which   to   fasten   this   wall 
board. 


Fig.   1 


Fig.   2 


Fig.  3 


Fig.  4 


Beaver   Board   or    Upson    P>,(jar(l   can   be    rounded    over   the   top    if  placed   in    water   until 
pliable. 

If  you  use  Compo-P,. lard  you  will  not  need  to  bother  with   fr.ime  work  because  this  wall 
board  has  a  wooden  core  and  can  be  worked  up  and  used  the  same  as  thin  woods. 

Fig.  1  shows  how  the  stand  will  look  when  ready  for  ilraping. 


Lessons  in  I)i{\i»in(; 


Start  tlic  drape  as  in  Fig.  "2.  The  end  starts  at  the  Ijase  of  stand  in  front.  Fit  smootlily 
up  over  the  top  of  stand  and  on  sides,  allowing  one  fold  to  show  from  the  top  as 
the     goods     are     fitted     around     in     the     back    of     the     stand.        Let     the    goods     drop 


Slab  Drape  21 


CuurtfHy  AilJinftuulIiUa 


down  in  the  back,  then  carry  out  in  front  on  the  floor.  Return  up  to  edge  of  stand  as  in 
Fig.  3  and  carry  remainder  of  goods  across  back.  Bring  this  goods  around  back  of  stand 
on  the  floor  and  return  it  again  to  edge  of  stand  as  in  Fig.  4.     Hide  the  bolt  in  the  back. 

Pick  up  some  of  the  surplus  goods  in  the  back  and  bring  up  over  the  top  in  a  bunch  of 
long  pointed  plaits  down  to  the  edge  of  stand.  Finish  with  velvet  ribbon  underneath  each 
edge  and  with  a  row  of  buttons. 


81 


Lkssons  in  Dhaping 


Fig.   3 

of  the  stand,  and  return 
it  up  to  the  back  edge 
as  also  shown  in  Fig.  3. 

Next  drape  the  goods 
around  front  of  stand 
and  out  on  tlie  floor  at 
the  right.  Change  sel- 
vage and  return  goods 
in  a  sweep  up  to  the 
back  edge  of  the  stand, 
pinning  just  below  point 
to  which  folds  from  top 
edge  are  drawn  (Fig. 
•1). 

'ri.c  trinunin!^-  consists 
of  three  bands  of  velvet 
rilibon,  brought  over  the 
top  in  graduated  lengths 
and  finished  with  but- 
tons at  the  ends. 


DRAPE    22 

THIS  is  another  one  of  the  good  ideas  for  a 
home-made   draping  stand — and    a    drape 
for  it. 
It  can  be  made  out  of  lumber  or  wall  boards, 
is  1.1  inches  square  and  0,  7  or  8  feet  high.     The 
top  is  finished  off  in  rounded  effect  by  means  of 
a  bended  piece  of  cardboard  (Fig.  1). 

To  start  the  drape,  throw  the  end  over  the 
l<jp  allowing  about  one-half  yard  to  hang  over  on 
the  back  (Fig.  2).  Crease  of  goods  is  at  front 
edge.  Fit  the  goods  smoothly  over  sides  of  stand 
and  take  up  surplus  goods  hanging  over  edge  of 
stand  at  the  top  by  drawing  it  down  in  plaits  to 
a  point  on  the  back  edge  as  in  Fig.  3.  Carry  the 
aoods  out  ,on  the  floor  to  the  right  from  the  base 


sy  ArlinBton  Mille 


Lessons  in  Dh.\pin(. 


I 


In  ma 

about  the 

First, 

In  Fig 

any  of  the 

out  of  a  ] 


DRAPES   23   TO  27 

r   IS   said   thai   "■Variety   is  the   ;,i)ice  of 
Ufe."     This  saying  applies  very  closely 
to    the    sho,v    window    and    could    be 
changed    in    this   connection   to   read    "Va- 
riety is  the  Life  of  the  Show  Window." 

The  progressive  window  trimmer  is  al- 
ways on  the  lookout  for  new  ideas,  new 
ways  of  putting  goods  in  the  window,  new 
ways  of  decorating  the  backgrounds  of  the 
windows  and  trimming  the  interior  of  tlic 
store. 

The  most  up-to-date  trimmers  will  take 
and  modify  most  any  form  or  draping  stand 
and  originate  forms  of  their  own  that  are 
similar  or  quite  different.  We  suggest  here 
stands  that  can  be  made  by  the  window- 
trimmer  and  therefore  need  not  mean  any 
expense  to  the  store  other  than  what  will 
Drape  23  have  to  be  spent  for  supplies, 

ny  cases  these   forms  can   be  made  from  old  lumber  or  box  lumber  that  may  be 
store  and  thus  would  cost  the  store  absolutely  nothing. 
we  will  show  in  8  drawings  how  it  is  possiljle  to  make  up  the  stands. 
.  1  we  show  a  drawing  of  the  original  mummy  form.     This  can  be  procured  from 
fixture  houses  or  can  be  matie  in  your  own  workroom.     The  two  sides  are  cut 
ight   lumber  or  compo-board   and  held   togetlier   with  light   wooden   braces   nailed 


across  the  front.  Over  this  front  can  then  be  bent  a  covering  of  mat-board.  The  base  shown 
in  Fig.  1  is  the  one  used  on  the  original  manufactured  form.  You  had  best  put  on  a  plain 
wooden  base  such  as  w-e  show  in  Fig.  2. 

Our  Fig.  2  shows  a  simple  modification  of  the  munnny  fiuni.  This  will  be  easy  to  make 
as  it  is  made  of  all  flat  surfaces  and  can  be  l)uilt  up  like  a  Ijux.  The  same  drapes  used  on 
the  mummy  form  can  be  used  on  this  modified  mummy. 

83 


Lessons  in  Draping 


We  show  in  our  Drape  27  one  very  simple  and  cfTcctive  drape  that  can  be  used  on  this 
draping  stand.  It  will  be  noticed  that  in  tliis  khh.  diMwii  u  w  i  li.^w  still  a  different  way  of 
building  this  modified  mummy 
form,  the  difference  being  that  all 
four  sides  run  straight  to  the  floor 
instead  of  being  narrowed  at  the 
bottom.  This  last  mentioned  form 
is  the  easiest  of  all  to  make  be- 
ing in  reality  a  tall  box  with  a 
slanting  top. 

This  slanting  top  of  the  real 
mummy  form  is  suggestive  of  the 
shoulder  and  bust  lines.  The 
straight  side  lines  narrowing 
down  to  the  base  of  the  form  are 
suggestive  of  the  hipless  tight- 
fitting  skirt  effect. 

Another  decided  change  from 
the  old  style  draping  stands  is 
the  building  of  the  sides  of 
these  forms  and  the  stretching  of  ihv  fabrics  on  tliese  surfaces  as  tlic  foundation  of  the 
drapes.  This  idea  was  brought  out  in  the  first  uumuuy  drapes  and  is  now  introduced  into 
all  .other  types  of  drapes. 

In  our  Fig.  3  we  show  a  slanting,   half-round  top   stand  with  sides  built  down  to  the 
floor  making  a  form  shaped  like  a  tall  slal).     You  have  in  all  probability  used  the  draping 


^ 

^ 

/ 

1 

■^ 

1/ 

^ 

^ 

1 

y 

75 

th   a   half- 

(uuul  effect 

s  new   slan 

d  is,  as  be- 

stand,  being  a  tall  wooilen  standard  with  a  slaiuiny  top,  linisluil  wi 
made  of  bent  cardboard  (see  Drapu  iO).  'I'ln'  only  dilTcrcnce  in  tlii 
fore  mentioned,  that  the  sides  are  i)uill  (ju   from  tiio  floor  to  top  of  st.iud. 

In  our  Drape  25  you  will  see  how  this  l-'ig.  I?  is  drapicl.  The  .uoods  are  first  stretched 
flat  over  the  surface  of  the  form  and  brought  over  the  loj)  in  folds  and  fastened  at  a  point 
on  the  front  edge.  A  graduated  fold  of  darker  colond  satin  is  also  brought  over  the  top 
of  the  form  and  fastened  at  the  same  point  with  the  cloth.  hOlds  of  the  goods  are 
then  brought  around  to  the  back  of  the  form  and  draped  to  the  flooi. 

8-t 


Lessons  in  Draping 


It  will  be  noticed  that  the  form  indicated  as  used  In  Drape  25  is  of  slightly  different 
proportions  than  the  form  Fig.  3,  being  slightly  taller  and  more  slender,  thus  showing  that 
there  is  not  only  a  variety  in  the  shapes  of  these  forms,  but  variety  can  be  had  in  the  vary- 
ing sizes  of  the  same  general  shape. 

Take  for  instance  Drape  26.  Here  is  a  form  practically  the  same  as  the  one  shown  in 
Drape  25,  the  difference  being  that  the  curved  top  does  not  slant. 

This  drawing  shows  a  particularly  effective  drape.  The  form  is  first  covered  with  the 
dress  goods  and  a  folded  loop  of  the  same  goods  draped  down  on  one  side  over  the  top. 
Drapes  are  then  brought  down  to  the  floor  from  both  sides  of  the  form.  A  double  set  of 
buttons  are  fastened  along  the  front  edge  near  the  top. 

We  want  to  call  your  attention  to  the  manner  in  which  buttons  are  introduced  in  the 

various  drapes  shown  here.     They  serve  as  a  very  clever  finish  or  decoration  on  the  drape. 

In  Fig.  4  is  a  further  development  of  the  form  used  for  our  Drape  27,  the  difference 

Iicing  that  the  sides  are  beveled  instead  of  being  straight,  or  in  other  words  the  slant  top 

is  continued  down  on  both  sides. 

In  Fig.  5  is  a  form  made  up  in  imitation  of  a  bolt  of  dress  goods.  This  holt  can  be 
made  up  in  various  sizes,  some  tall  and  slender  and  others  shorter  and  thicker.  They  should 
be  made  in  mammoth  size  in  order  to  be  most  effective.  This  allows  one  to  cover  them 
tightly  with  a  layer  of  cloth  and  then  drape  the  goods  about  them  in  graceful  folds  and 
sweeps.  These  bolt  drapes  are  very  popular  and  quite  a  number  arc  shown  in  this  book. 
Next  we  have  a  Form  No.  6  built  with  three  sides  and  a  slanting  top.     This  is  very 

easily  made,  it  only  being  necessary  to  use  two  wide 
boards  for  the  front  of  the  stand,  and  a  small  wood- 
en top.  The  back  need  not  l)c  other  than  a  brace  or 
two,  unless  the  form  should  be  so  located  in  the 
(lisiilay  that  the  back  would  show,  and  in  that  case 
the  back  should  be  liuilt  up  the  same  as  the  front. 

Probably  the  easiest  way  to  construct  same 
would  be  to  connect  the  circular  bottom  and  oblong 
top  with  strips  of  wood  and  over  this  bend  heavy 
sheets  of  matt-l)oard  or  carpet  paper. 

Drape  23  shows  one  of  the  drapes  that  can  be 
used  on  this  column  form.  First  the  surface  of  the 
form  is  covered  witli  the  fabric  and  then  a  fold  of 
goods  draped  in  festoon  effect  down  across  the  front. 
Then  from  the  top  of  the  form  is  dropped  down  a 
series  of  graceful  folds  to  the  floor. 

The  slanting  top  of  this  particular  drape 
has  been  filled  in  with  a  gathered  mass  of  the  same 
goods.  This  top  can  also  be  filled  with  a  gathered 
mass  of  silk,  satin  or  velvet. 

In    Fig.  8 


wc    show 

modifica- 

mummy 


still  another 
tion  of  the 
form.  This  form  is  the 
same  as  the  one  used 
for  Drape  27  with  the 
exception  that  the  top  is 
curved  instead  of  a 
straight  surface.  In  oth- 
er words  this  top  could 
be     called      a     quarter- 


Lkssons  in  Draping 


now    suggests 


tile  idea  of  having  a  half-round  top 
that  is  the  back  of  the  form  would  be 
exactly  like  the  front.  This  shows  how 
it  is  i)()ssiblc  to  continue  almost  indcli- 
nilrly  to  conceive  new  forms  on  which 
to  plan  new  drapes  or  on  which  to  use 
old  drapes  in  a  new  way. 

Instead     of    showing    you     how     to 
rape   this    form    with   the    front  of   the 
and  towards  you,  we  drape  it  in  Drape 
24  so  that  the  back  and  one  side  of  the 
form  are  facing  you.     This  gives  you  a 
new  thought  and  wc   now  sec  that  it  is 
possible   to   start    an    entire   new    set   of 
drapes    by   reversing   all   the    forms    we 
have  already  mentioned,  and  by  turning 
backs  and  sides  to  the  front  of  the  win- 
dow, we  will  get  entirely  new  effects. 
Care    should    be    taken    in   covering 
the    plain    surfaces    that 
'__  the   goods     be    stretched 

perfectly  flat.  The  small- 
est indication  of  a 
wrinkle  will  almost  spoil 
an  otherwise  well  exe- 
cuted drape. 


Lessons  in  Draping 


DRAPE    28— MUMMY   DRAPE 

FOR  making  this  drajic,  a  six  or  seven  yard  Icngtli  of  goods  is  required.     Start  with  an 
end  ,of   the  goods  at   the  top.      If  the    full  licit  is  used,  unroll  about   six  yards,  carry 
the  goods  over  the  top  and  let  the  l)olt  he  down  at  the  liack  of  the  form  where  it  can 
be  covered  up  with  the   folds.     Fit  the  goods  smoothly  down  the   front  of  the  form  having 
the  crease  or  center  of  the  goods  at  the  edge  of  the  form  on  the  right.     Pick  up  outer  selvage 


Fig.  1 

at  the  end  of  the  goods  at  the  top  and  carry  back  to  the  top  of  the  stand  (Fig.  -2).  This 
will  form  a  loop  on  the  side  of  the  form  which  can  be  picked  up  in  three  folds  (Fig.  3). 
Fit  the  goods  smoothly  .over  the  side  of  the  form  at  the  left. 

Now  take  the  other 
end  of  the  goods,  carry 
around  back  of  the  form 
and  bring  up  across  the 
front,  pinning  at  the  top 
(right  side).  Lay  it  in 
a  number  of  narrow 
plaits  at  curved  part  of 
form  and  drape  com- 
pletely around  the  form 
and  out  on  floor  at  the 
right.  The  goods  should 
be  doubled  back  under- 
neath this  sweep  in  or- 
der to  give  a  clean  cut 
finish  to  the  end.  A 
narrow  band  of  trim- 
ming in  a  color  to  con- 
trast with  the  goods  is 
wrapped      around      the 

folds  at  the  point  plaited,     j 

Mummy   Drape  No.   28 


Lessons  in  Draping 


-^hit^ 


-^■■^ni, 


Drape  29 
but  here  is  a  draping  form 
tliat  will  "stay"  if  the 
American  window  dresser 
is  as  sensil)le  as  we  believe 
him  to  be. 

In  the  (IrapinLT  of  the 
shell  form,  there  was  little 
attempt  to  imitate  a  finished 
Rown.  The  idea  was  to 
show  the  fabric  in  a  man- 
ner somewhat  similar  to 
that  in  which  the  dress- 
maker would  make  it  up, 
bringing  out  the  folds  and 
adding  the  proper  trim- 
inings.  The  new  stand  per- 
mits  of  all   this.     It  is   the 


THE  draping  stand  that  is  illustrated  in  connection 
with  this  article  is  destined  to  prove  one  of  the  most 
important  fixtures  that  has  ever  been  produced  for 
the  display  of  dress  fabrics.  It  is  a  rare  combination  of 
the  practical  and  the  artistic.  Like  most  big  things,  it  is 
extremely  simple — so  simple  in  fact  that  one  wonders  why 
nobody  thought  of  it  before. 

The  practical  feature  of  this  form  lies  in  the  fact  that 
it  is  remarkably  easy  to  drape.  Even  the  beginner  who 
simply  throws  the  goods  over  the  form  cannot  fail  to  get 
a  pleasing  effect  if  he  has  the  rudiments  of  a  draper  in 
liini  and  will  give  a  little  care  to  the  arrangement  of  the 
folds.  Indeed,  it  is  more  difficult  to  make  an  awkward 
drape  with  this  form  than  it  is  to  make  a  graceful  one. 

As  to  being  artistic,  the  simple  classic  lines  tapering 
down  from  the  top  offer  endless  possibilities  to  the  skilled 
draper.  Styles  may  come  and  go,  but  we  feel  safe  in  say- 
ing that  this  form  will  last.  The  fashions  in  hips  may 
vary  from  one  extreme  to  another;  waists  may  move  up 
or  down  according  to  the  whim  of  the  modistes;  skirts 
may  pass  through  all  the  stages  from  crinoline  to  hobble. 


Brape  30 


Lessons  in  Draping 


I>rape   31 


same  height  as  the  average  woman,  about  five 
and  one-half  feet,  and  the  upper  lines  sug- 
gest the  shoulders  and  bust.  The  straight 
lines  present  every  opportunity  to  the  clever 
draper  and  do  not  restrict  him  to  set  lines  as 
was  the  case  with  some  of  the  old-fashioned 
forms  popular  a  few  years  ago. 

It  is  not  to  be  understood  that  the  new 
form  is  to  take  the  place  of  the  shell  form 
which  follows  with  more  or  less  variation  the 
lines  of  the  female  form.  Tlie  latter  is  more 
popular  now  than  it  ever  was  and  will  always 
be  used  by  the  progressive  decorator.  New 
models  have  been  brought  out  recently,  more 
perfectly  than  any  of  those  that  have  gone 
before,  and  others  will  follow  from  time  to 
time  as  the  changes  are  made  necessary  by 
•>t!*"  the  ever  shifting  fashions  in  the  female  figure. 
The  shell  form  is  a  remarkably  satisfactory 
display  device  and  trimmers  now  wonder  how 
they  over  got  along  without  it.  It  will  always 
have  a  prominent  part  to  play  in  the  showing 
of  yard  goods. 

The  two  sketches,  Drapes  29  and  30,  suggest  simple  arrangements.  This  stand  might 
almost  be  called  "automatic,''  it  is  so  easy  to  drape  .over  it.  The  waist,  which  was  always  a 
stumbling  block  to  the  beginner,  is  absent. 
There  is  no  flare  at  the  base  which  make 
certain  lines  necessary  and  compels  a  certain 
sameness.  With  this  form  the  trimmer  is  lim- 
ited only  by  his  skill.  If  he  is  clever  at  drap- 
ing, there  is  no  end  to  tlie  fascinating  effects 
he  can  accomplish  with  this  form  and  pretty 
dress  fabrics. 

Drape  31  is  another  suggestion  making 
use  of  trimmings  of  lace  and  a  velvet  liow. 
This  was  draped  by  Will  H.  Bates. 

Drape  32  was  draped  by  Mr.  Lou  Good- 
year, a  graduate  of  the  Koester  school.  His 
work  is  of  a  very  high  order,  this  drape  giv- 
ing some  idea  of  the  beauty  of  his  work. 

This  mummy  form  was  at  first  thought 
to  be  merely  a  novelty  that  would  not  have 
a  very  long  life,  but  it  has  developed  that  it 
is  a  very  practical  draping  stand  or  form  and  is  being  used  more  and  more. 

It  gives  the  window  trimmer  a  chance  to  give  much  change  to  his  windows  and  after 
using  forms  simulating  the  human  figure  or  after  using  wooden  stands  he  gets  an  absolute 
change  liy  means  of  the  mummy  forms. 

Each  new  style  that  comes  out  gives  the  trimmer  a  chance  to  get  up  new  drapes  for 
every  one  of  his  forms.  And  the  new  drapes  on  the  mummy  forms  often  surpass  those 
on  the  other  types  of  forms. 

8!) 


Drape   32 


Lkssons  in   Draping 


Not  only  is  the  nunniny  form  well 
adapted  for  the  display  of  sijks  and  wool 
goods,  Init  it  is  also  good  for  the  showing 
of  cotton  wash  goods,  flannelettes  and  anv 
line  of   fabric  that  can   he   draped. 

In  our  Drape  :Vi,\  we  show  how  a  bor- 
dered flannelette  looks  when  draped  and 
we  also  show  you  a  very  good  drape  for  use 
on   this  type   of   form. 

This  same  drape  can  le  used  for  llie 
showing  of  any  other  material. 

This  drape  makes  use  of  the  border 
design  to  give  cliaracter  and  also  to  serve 
as  a  decoration.  T!ie  only  other  trimming 
iu(\    and    bow    used    at 


used    is    the    ribl  n 
the  bust  line. 

Next    we    sho 
of     a     ver\-     wide 


in    Drape    .'12R    the    use 
liordercd     chiffon.       The 


Drape  32A 


upper  part  of  the  draping  stand,  or 
rather  the  mummy  form,  was  covered 
with  plain  colored  silk  or  satin  to 
harmonize   with   the   chifYon. 

The  chiitifon  was  then  caught  up 
at  one  side  of  the  top  and  draped 
across  the  front  of  the  stand  and 
then  on  down  to  the  floor.  The  only 
trimming  used  in  this  drape  was 
the  ribbon  shown  at  the  top.  The 
border  pattern  in  the  goods  serves 
as  a  trinnning   for   this  drape. 

Where  plain  goods  are  draped 
on  the  mununy  form  it  will  be  well 
to  use  such  accessories  as  buttons, 
riI)bons.  braids,  etc.,  in  order  to  give 
more   character    to    the    composition. 


U 


Drape  32B 


yo 


Lessons  in  Draping 


DRAPES  33,  34  and  35 

VERY  striking  effects  may  be  secured  in  draping  reversible  materials  or  two  faced  goods 
which  could  only  be  secured  otherwise  by  using  two  pieces  of  goods.     On  this  page 
we  show  three  drapes  showing  how  to  drape  revcrsilile  goods  on  common  T  standi 
mummy  stand  and  full  form. 


Drape  33  is  made  over  an  ordinary  dress  goods  T  stand,  and  shows  how  a  coat  effect 
may  be  suggested  on  this  staple  fixture.     First,  the  goods  is  draped  over  the  top  of  the  stand 
and  allowed  to  hang  straight   down  to   the   floor.     The   surplus  of  goods  hanging  over  the 
end  of  the  stand  is  arranged  in  cascade  folds,  showing  just  a  bit  of  the  reverse  side  of  the 
goods.     Then  the  other  end  is  brought  up  over  the  top  of  the  stand  and  down  to  the  floor 
in  front,  reaching  about  two-thirds  of  the  way  across  the  front  of  the  stand.     Then  the  sel- 
vage is  folded  back  about  five  inches  down  the  front  showing  a 
narrow  panel  of  the  reverse  side.   Pin  to  the  standard  near  the 
top  and  fold  back  diagonally  to  the  end  of  the  stand  forming  a 
large   revere  collar.     Arrange  goods   hanging  over  this   edge   in 
one   wide   fold  and   fold  up  the   selvage  to   form   a  cuff.     Large 
buttons  or  frog  trimmings  are  used  as  a  finsh  for  the  drape. 


Drape  34  is  made  on  the  mummy  form,  but  is  carried  out  on 
practically  the  same  principle  as  that  on  the  T-stand,  so  that  it 
will  not  be  found  difficult  to  make.  The  shape  of  the  form  with 
its  rounded  bust  line  gives  bet- 
ter opportunity  for  developing 
the  coat  idea  along  the  lines  of 
the  human   form. 


Drape  33 


Drape   34 


a  full  form  or  wax  figure.  In 
this  case  it  would  be  well  to 
drape  the  form  first  with  a 
gown  effect  of  some  lighter 
material,  say  of  silk  or  light 
weight  dress  goods.  Then 
drape  the  coat  effect  over  the 
one  side  of  the  form.  This 
gives  an  opportunity  for  a 
strong  color  effect  and  also 
makes  possible  the  drape  with 
a  short  pattern  length  of  the  goods. 

These  three  drapes  may  also  be  taken  as  a  lesson  on  how 
some  one  idea  can  be  utilized  on  a  variety  of  stands.  For  in- 
stance, in  each  of  these  drapes  the  method  of  forming  the  nar- 
row front  panel  and  the  collar,  by  turning  back  the  selvage,  is 
the  same.  Details  of  placing  the  trimmings  and  arranging  the 
folds  reaching  on  the  floor  may  be  varied  to  some  extent  so  that 
there  will  not  be  too  much  similarity  in  the  drapes  when  all  arc 
used  in  the  one  window. 

91 


Drape  35  shows  a  still  fur- 
ther development  of  the  idea, 
this  time  being  worked  out  on 


Drape  35 


Lessons  in  Draping 


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Lessons  in  Draping 


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Lessons  in  Draping 


WALL  DRAPE  1 

FALL  dross  goods  displays  arc  in  several  rcsi)ccts  entirely  different  fmm  dress  ;40ods  dis- 
plays made  at  other  seasons.  Tliey  require  a  treatment  entirely  distinct  from  that 
accorded  to  spring  and  summer  goods.  Fall  goods  are  heavy  in  weight  and  generally 
ilark  in  color.  Many  of  the  fabrics,  such  as  broadcloths,  etc.,  are  entirely  devoid  of  pattern, 
and  these  require  a  manner  of  treatment  that  brings  out  their  color  and  texture.  They  must 
be  arranged  to  sliow  how  they  fold  and  how  light  and  shade  affect  them.  Then  there  are 
the  fabrics  that  have  a  snl)dued  pattern  that  must  l)e  shown  in  addition  to  showing  the  tex- 
ture, etc.  Tliircl,  there  are  llie  g(X)ds  having  decided  patterns,  such  as  the  large  plaids  and 
stripes  that  will  be  worn  this  fall — these  will  require  an  arrangement  that  provides  for  large 
smooth  surfaces  combined  with  folds  wide  and  narrow,  long  and  short,  to  show  how  the 
goods  will  "make  up."  In  slwrt,  every  different  piece  of  goods  requires  a  distinct  treat- 
ment. Before  deciding  upon  how  a  line  of  goods  is  to  be  shown  the  decorator  should  study  all 
of  the  points  carefully,  considering  textures,  pattern,  color,  etc.  He  should  choose  some 
scheme  of  arrangement  that  will  bring  out  and  accentuate  every  attraction  that  the  material 
possesses.  Before  the  display  is  made  it  would  be  advisable  that  an  inexperienced  trimmer 
should  take  a  few  pieces  of  goods  to  his  workroom  (providing  it  is  large  enough  and  light 
enough),  and  there  experiment  with  them  until  he  hits  upon  the  best  way  to  show  them  off 
in  the  window.  Having  decided  upon  the  manner  of  handling,  the  whole  stock  of  goods 
siiuuld  be  looked  over  with  the  object  of  determining  upon  a  color  scheme.  If  there  is  a 
large  table  in  some  light  part  of  the  store  the  color  arrangement  of  one  ,or  a  dozen  windows 
can  be  worked  out  in  a  short  time.  Open  up  the  bolts  of  goods  sufficiently  to  show  the  color 
and  pattern  and  then  place  them  side  by  side  on  the  table.  Then  shift  them  around  until  the 
proper  combination  is  found.  The  next  thing  to  do  is  to  make  a  chart  or  memorandum  that 
will  show  just  where  each  piece  goes. 

The  first  showing  of  fall  dress  goods  is  more  for  the  purpose  of  illustrating  the  trend 
of  fashion  than  to  show  the  scope  of  stock.  For  this  reason  the  windows  should  be  trimmed 
with  a  few  pieces  ,of  the  most  favored  styles  rather  than  crowded  with  a  great  many  sam- 
ples. If  the  store  has  enough  windows  to  warrant  it  several  should  be  dressed  as  a  series, 
using  a  well  planned  color  scheme  throughout.  Of  course,  the  number  of  pieces  to  be  shown 
will  depend  largely  upon  the  size  of  the  window,  but  three  or  four  patterns  are  about  all 
that  can  be  shown  to  advantage  in  one  window,  no  matter  how  larne  it  is.  If  novelty  goods 
are  shown  they  should  be  arranged  in  groups  having  a  similar  pattern,  h'or  fall  dress  goods 
it  is  not  necessary  to  arrange  an  elaborate  background  setting.  The  plain  mirror  l)ack  or 
wooden  paneling  will  answer  the  purpose  very  well.  The  principal  object  to  be  .linud  at  is 
a  broad,  striking  effect,  and  to  obtain  this  it  is  necessary  to  use  long  sweeps  and  large  sur- 
faces to  show  both  color  and  design. 

Wall  drapes  of  various  kinds  are  particularly  suited  to  the  sliowing  of  fall  dress  falirics. 
They  give  the  great  length  of  line  that  is  so  essential  to  a  l)ig  effect.  In  connection  with 
this  chapter  are  shown  detail  sketches  of  how  to  make  tlie  drapes.  Tlie  jiicturcs  are  merely 
rough  drawings  intended  only  to  show  the  general  effect,  as  it  is  inij)ossiliK'  to  make  a  sketch 
or  even  a  photograph  that  will  give  an  adequate  idea  of  a  earefullv   ihapetl  fabric. 

Drape  1  was  designed  for  plaids  or  novelty  go<Kls.  The  diaiirani  will  show  bow  easy 
it  is  to  make.  First  a  snio,otli  bo.ird  <lx"-'l  inches  is  nailed  to  the  top  of  tlu'  !),iekuround.  wliieh 
is  in  most  cases  about  eight  fn't  from  tlie  lloor.  This  Ixiard.  as  sliowii  in  Iml;.  I,  is  placed 
horizontal  and  extends  to  one  side  at  an  ans^le  of  .ilionl  l"i  dcLirees.  Tlu'  ed;-;es  of  the  Ixiard 
should  be  sandpapered  in  order  to  prtilect   llie  gouils  from  any  possible  injury.     The  gootls 


Lkssons  in  Dhaimnc. 


95 


Lessons  in  Draping 


P^. 


'..i):i^i.irj-.rvirr.S^\-;jrr^-AJ?L'>.ii^'.-^J'<^-^-^!JiMriyL^ 


Lessons  in  Draping 


Lkssons  in  Draping 


are  unfolded  and  the  upper  selvage  is  carried  around  the  board  to  point  a,  Fig.  2,  where 
it  is  pinned  over  the  top.  It  is  then  carried  along  to  points  b,  c  and  d,  placing  a  pin  at  each 
point.  In  the  sketch,  for  convenience,  the  goods  are  shown  narrower  than  they  actually  are. 
From  point  d  the  goods  are  carried  down  to  the  floor,  and  after  allowing  for  puffing  at  the 
bottom  are  brought  up  again  and  pinned  at  the  same  point.  This  movement  is  very  clearly 
indicated  by  the  arrows  in  Fig.  3.  From  point  d  the  material  is  carried  to  the  right,  making 
a  series  of  deep  folds  and'  pinned  again  at  point  c.  BVom  point  c  the  goods  falls  to  the 
floor  and  is  carried  back  again  to  point  b,  where  it  ends.  After  the  pins  have  been  placed 
the  decorator  proceeds  to  straighten  out  the  folds  and  sweeps  as  shown  in  the  large  draw- 
ing of  Drape  1.  The  sweep  on  left  at  the  back  has  wide  box-pleat  on  top  made  by  turning 
under  the  selvage  at  the  back  and  folding  the  goods  under  in  front  as  shown  in  the  draw- 
ing. The  front  sweep  at  the  left  is  also  made  with  a  box-pleat  on  top  and  may  have  two 
lower  folds  as  indicated  in  the  sketch  or  it  may  have  three  or  four,  according  to  the  nature 
or  width  of  the  goods. 

Particular  care  should  be  used  in  making  the  loops  and  folds  at  the  top  of  the  drape. 
In  the  drawing  these  have  been  made  considerably  wider  than  they  actually  are,  in  order 
that  the  picture  may  be  entirely  plain.  These  are  three  deep  loops  that  must  be  smoothed 
out  carefully.  On  each  side  of  the  loops  are  four  folds.  These  should  be  made  perfectly 
even  on  both  sides  by  running  the  fingers  between  the  folds,  from  the  bottom  clear  up 
to  the  point  where  they  are  pinned.  It  is  very  necessary  that  the  folds  and  loops  be  made 
even  on  both  sides  in  order  to  preserve  the  symmetrical  appearance  of  the  drape.  The  two 
sweeps  on  the  right  are  made  in  identically  the  same  manner  as  those  on  the  left. 


Lessons  in  Dhapinc 


WALL  DRAPE  2 

WALL  DRAPE  2  is  an  entirely  different  arrangement.  Although  it  can  be  used  with 
any  kind  of  goods,  it  is  particularly  adapted  to  the  showing  of  broadcloths  and 
other  fabrics  having  a  fine  lustrous  finish.  It  is  a  very  effective  drape  and  not 
difficult  to  make.  To  begin,  a  square  board  15x15  inches  is  nailed  horizontally  to  an  upright 
and  placed  24  inches  above  the  top  of  the  background  as  shown  in  Fig.  4.  The  top  of  the 
board  should  be  about  10  feet  from  the  floor  if  the  construction  of  the  window  will  permit. 
Start  with  the  goods  on  the  floor  at  the  left,  leaving  enough  to  form  a  generous  sweep. 
Carry  it  up  to  the  board  as  indicated  by  the  arrows  and  pin  at  point  a,  Fig.  5.  Then  carry 
it  straight  across  the  upper  edge  of  the  board  (letting  the  selvage  lap  over  the  top)  to 
point  b,  from  which  point  it  descends  in  a  long,  slender  loop  and  is  returned  to  the  same 
point,  as  the  arrows  show.  From  b  it  is  carried  in  the  same  manner  over  to  point  c,  where 
another  loop  is  made  identical  with  the  one  at  point  b.  These  loops  and  folds  will  fall 
naturally  as  shown  in  the  large  drawing,  but  they  require  to  be  straightened  out  to  get  the 
desired  finished  effect.  From  point  c  carry  the  goods  over  to  point  d,  which  is  the  end 
of  a  slanting  stick  fastened  to  the  background  in  somewhat  the  same  manner  as  is  shown 
in  Fig.  6.  Point  d  should  be  about  on  a  level  with  the  top  of  the  background  or  about  24 
inches  lower  than  the  top  of  the  board  at  the  left.  From  point  d  the  goods  are  looped  down 
in  exactly  the  same  manner  as  they  were  from  points  b  and  c.  This  is  indicated  by  the 
arrows  in  Fig.  7.  The  goods  are  then  carried  down  to  the  floor,  as  indicated  in  the  large 
drawing.  The  beauty  of  this  drape  will  depend  to  a  great  extent  upon  the  care  that  is  used 
in  making  the  loops  and  folds  that  descend  from  points  b,  c  and  d.  These  will  be  slightly 
narrower  than  they  appear  in  the  drawing,  which  was  made  to  show  the  details.  Every  fold 
must  be  straight  and  they  must  be  perfectly  even  on  both  sides.  The  three  sets  of  loops 
should  be  made  exactly  the  same  length  and  all  should  be  identical  in  every  detail,  or  as 
nearly  so  as  it  is  possible  to  make  them.  The  sweeps  may  be  made  as  shown  in  the  draw- 
ing or  they  may  have  more  or  less  folds  according  to  the  trimmer's  idea  of  which  will  look 
the  best  in  his  window. 

In  both  of  these  drapes  the  window  dresser  will  have  to  use  some  discretion  as  to  the 
manner  of  arranging  the  sweeps.  This  will  depend  upon  the  size  of  the  window  and  the 
character  of  the  other  drapes  that  are  to  be  used  in  connection  with  these.  The  additional 
drapes  that  are  shown  in  the  windows  with  Drapes  1  and  2  should  all  be  made  over  square 
top  stands.     Their  placing  must  he  left  to  the  judgment  of  the  decorator. 


Lessons   in   Dhaimnt. 


lUO 


Lessons  in  Draping 


Lessons  in  Draping 


102 


Lessons  in  Drapin(. 


WALL  DRAPE  3 

EVERY  dress  goods  drape  should  be  simple— that  is  the  secret  of  artistic  and  effective 
show  window  composition.  The  purpose  of  the  drape  is  not  to  show  the  skill  of  the 
decorator,  but  to  display  the  goods  in  the  most  attractive  way.  A  person  standing 
in  front  of  the  window  should  not  think  of  the  decorator  at  all.  She  should  think  how 
beautiful  the  goods  look,  and  that  is  all.  If  the  work  of  the  decorator  is  too  elaborate  it  will 
draw  attention  to  itself  rather  than  to  the  beauties  of  the  goods.  Furthermore,  a  complicated 
treatment  is  almost  invariably  lacking  in  strength  and  dignity. 

Drapes  3  and  4  are  suitable  to  almost  any  kind  of  fall  fabrics.  They  are  made  by  a 
combination  of  long  and  short  sweeps,  with  sufficiently  large  flat  surfaces  to  show  off  checks, 
plaids  and  other  goods  having  a  pattern.  On  the  other  hand,  they  have'  folds  that  are  de- 
signed to  show  light  and  shade  perfectly,  and  for  this  reason  are  well  adapted  to  smooth 
goods,  such  as  broadcloth  and  kindred  fabrics.  They  are  both  exceedingly  easy  to  make- 
neither  should  require  more  than  ten  minutes  after  the  fixtures  are  in  place.  While  they 
are  especially  suited  to  large  windows,  they  can  be  used  to  good  advantage  in  those  of 
moderate  size.  The  arrows  in  the  drawings  of  these  draperies  indicate  so  plainly  the  method 
of  construction  that  little  description  is  necessary.  There  are  a  few  points,  however,  that 
may  need  a  little  explaining. 

To  make  Drape  3  two  fixtures  are  required.  The  first  is  shown  in  Fig.  8.  It  is  a  smooth 
board  24  inches  long  by  six  inches  wide,  fastened  to  an  upright  and  nailed  to  the  top  of 
the  back.  This  board  points  straight  toward  the  front  and  inclines  sharply  downward.  It 
is  placed  about  ten  feet  above  the  floor  of  the  window,  or  2  feet  above  the  top  of  the  back. 
The  other  fixture  is  a  home-made  wooden  stand,  shown  in  Fig.  9.  The  top  is  a  board 
5x27  inches,  inclined  at  an  angle  of  45  degrees.  It  is  constructed  as  shown  in  the  drawing, 
and  is  6  feet  high.    This  stand  is  set  so  the  right  front  points  to  the  right  and  front. 

It  will  require  almost  three  dress  lengths  of  material  to  make  this  drape.  The  be- 
ginning is  shown  in  Fig.  10.  Take  the  end  of  the  goods  and  throw  it  over  the  top  of  the 
stand,  letting  it  almost  reach  the  floor  at  point  a.  This  end  is  to  cover  the  stand  forming 
the  flat  space  x.  Then  allow  about  one  yard  and  pick  up  the  goods  behind  the  stand,  pinning 
it  through  the  back  selvage  at  point  b.  This  is  the  beginning  of  the  sweep  at  the  back  on 
the  right  hand  side.  Carry  the  goods  to  the  floor,  across  to  the  front,  and  up  again  to  point  c, 
as  indicated  by  the  arrows. 

Place  a  pin  at  point  c  and  make  a  deep  loop  of  three  folds  in  front  of  the  stand,  pinning 
the  goods  again  at  point  d.  This  loop  should  extend  low  enough  for  the  lower  edge  of  the 
goods  to  lie  on  the  floor,  completely  concealing  the  stand.  From  point  d  the  material  is  carried 
in  a  graceful  curve  to  the  other  fixture  over  which  it  passes  and  then  descends  in  a  long 
sweep  to  the  floor,  where  it  ends  at  point  g.  After  the  go^ds  has  all  been  put  in  place, 
start  at  the  left  to  arrange  the  sweeps  and  folds.  The  first  sweep  extends  from  g  to  e. 
It  has  a  wide  box-pleat  on  top  and  two  folds.  After  this  has  been  arranged,  form  the 
folds  that  fall  from  the  front  of  the  stand  f.  These  should  be  made  about  as  they  are 
shown  in  the  large  drawing  of  Drape  3.  Now  arrange  the  folds  between  points  e  and  d. 
after  which  the  loop  from  e  to  d  is  formed  in  folds  as  shown  in  the  drawing.  Care  should 
be  used  to  have  the  goods  forming  space  x  perfectly  smooth,  and  the  folds  should  fit 
closely  to  it. 


Lessons  in  Draping 


r 


Lessons  in  Dhaping 


1 


Lessons  in  Draping 


106 


Lessons  in  Draping 


WALL  DRAPE   4 

WALL  DRAPE  4  is  even  simpler  than  the  foregoing  one.  It  also  is  made  over  two 
fixtures.  Fig  11  shows  a  home-made  wooden  stand  6  feet  high.  The  top  is  an  oval 
lOxlG  inches,  that  is  tilted  at  an  angle  of  45  degrees.  This  stand  is  turned  toward 
the  right  and  slightly  toward  the  front.  The  other  fixture  may  be  seen  in  Fig.  12.  It  is 
also  an  oval  10x16  inches,  inclined  at  about  the  same  angle  and  turned  toward  the  left 
and  front.  It  is  placed  two  feet  above  the  top  of  the  background,  or  about  10  feet  from 
the  floor.  To  begin  the  drape  unfold  the  goods  at  the  left  side  of  the  window  and  begin 
at  point  a.  Carry  the  goods  up  over  the  top  of  the  stand  at  a  and  then  let  them  fall  to  the 
floor  at  point  c.  Allow  sufficient  material  to  form  the  puffing  between  points  c  and  d. 
Then  carry  it  up  over  the  high  stand  at  e,  bringing  the  remainder  of  the  goods  down  in 
a  low,  sweeping  curve,  and  pin  at  point  f.  This  is  the  only  pin  used  in  this  drape.  The 
material  is  now  all  in  place ;  all  that  remains  is  to  arrange  the  folds  and  sweeps.  When 
finished  these  should  appear  pretty  nearly  as  they  do  in  the  large  drawing  of  Drape  4. 

Begin  at  the  left  and  form  the  sweep  from  a  to  b.  This  has  a  box-pleat  on  top  and 
two  folds.  The  upper  end  of  the  sweep  should  terminate  at  the  extreme  left  of  the  oval. 
Then  form  the  short  perpendicular  folds  as  shown  in  the  drawing.  This  is  easily  done 
as  the  folds  fall  into  shape  naturally  and  all  that  is  required  is  to  straighten  them  out 
evenly.  Now  form  the  sweep  that  descends  to  point  c,  making  the  folds  fall  in  front  of  the 
stand  as  full  as  possible.  With  goods  having  a  pattern,  the  folds  should  be  wider  than 
with  plain  material.  Next  arrange  the  folds  on  both  sides  of  the  high  oval.  A  step-ladder 
will  be  necessary  for  this.  The  goods  should  not  be  placed  straight  across  this  oval  in 
the  usual  way,  but  should  be  arranged  as  follows :  Lift  the  material  up  from  above  and 
carry  that  which  forms  the  right  hand  sweep  around  in  front  of  the  stand  toward  the  left. 
That  which  forms  the  folds  on  the  left  side  should  be  carried  around  behind  the  stand  to 
the  right.  This  will  make  the  folds  come  out  as  they  appear  in  the  picture.  Another  and 
perhaps  easier  way  to  get  this  effect  is  to  fasten  the  oval  to  the  upright  with  one  strong 
nail.  Point  the  oval  straight  toward  the  front  and  place  the  goods  squarely  over  it. 
Then  arrange  the  folds  as  evenly  as  possible  on  both  sides.  After  the  folds  have 
been  smoothed  out  perfectly,  twist  the  oval  tops  gently  to  the  right  until  it  is  in  the  position 
shown  in  the  pictures.  The  single  nail  will  permit  the  top  to  swing  around  and  the  folds 
will  come  out  smoothly  and  in  perfect  symmetry  as  they  appear  in  the  large  drawing  of 
this  drape.  To  finish  this  drape  take  the  end  of  the  goods  and  gather  up  a  sufficient 
length  to  form  the  large  oblong  puff  at  point  f.  When  the  puff  has  been  formed  after  the 
manner  shown  in  the  picture,  fold  a  piece  of  silk  and  give  it  several  turns  around  back  of 
the  puff  and  pin  the  whole  to  the  stand  top.  This  is  the  only  pin  used,  and  it  completes 
the  drape.  It  will  be  observed  that  the  bottom  of  the  wooden  stand  shows  below  this  drape. 
It  should  be  concealed  by  the  sweep  of  some  other  drape  that  is  used  in  connection  with 
the  one  shown  here. 

A  very  pleasing  effect  may  lie  had  with  either  of  these  drapes  by  using  two  shades 
of  the  same  material  in  the  same  drape.  In  this  case  the  shape  of  the  drape  would  be 
the  same,  but  the  method  of  draping  would  be  somewhat  changed.  The  lighter  goods 
should  always  be  used  behind  the  darker.  For  example,  in  Drape  3  it  would  not  be  nec- 
essary to  begin  as  shown  in  Fig.  10. 

Start  at  g  and  carry  the  goods  to  e  and  over  to  d.  Then  carry  the  goods  straight  along 
the  top  of  the  stand  to  c  instead  of  forming  the  loops  in  front  of  the  stand.  This  will 
form  the  space  x  and  what  remains  of  the  goods  can  l)c  concealed  behind  the  stand.  Now 
take  the  second  shade  of  goods  and  begin  at  point  b,  carrying  it  just  as  before,  as  the  arrows 
indicate,  until  point  d  is  reached.  From  this  point  bring  the  goods  down  to  the  floor  to 
form  a  sweep  to  correspond  with  the  front  sweep  at  the  right. 

107 


Lessons   in  Draping 


To  make  Drape  1  in  Iwo  sliadcs.  l-)egin  just  the  same  as  described  lief<->re  and  contimie 
tlircjiigh  points  a,  h  and  e  until  tl:c  puffmK  is  reached.  Then  inlerminglc  the  two  pieces  of 
goods  on  the  floor  and  linish  the  (hapc  with  the  second  or  ligliter  shade.  In  using  two 
pieces  of  goods  in  these  drapes  they  should  be  two  shades  of  the  same  color — never  two 

108 


Lessons   in   Dhaimng 


■""•"iiniMTiiiiii im  It  iiiimM|->«iUi*iniii   ii-iiH  II nniiwt°-r°v^— — — 


^tiiict  colors.     The  ideas   for  tlie 


given  here  arc 
lotion  of  what 


raniicnient  of  the  two  shades  that  are 
merely   suggestions.     The  decorator   ma\-   work   out  other   ways  to   suit  his  : 
makes  the  most  attractive  efifect.     He  may  also  modify  the  entire  drapes  in  various  ways, 
but  he  will  do  well  to  stick  pretty  close  to  the  general  lines  of  the  designs  shown  here. 

109 


Lessons  in  Draping 


110 


Lessons  in  Draping 


WALL  DRAPE  5 

WALL   drapes    are    especially    appropriate    for   backgrounds   having'   a   plain   construc- 
tion,  such  as   mirrors  or  plain   hard  wood.     These  drapes  are  very  effective  and 
they  have  the  advantage  of  being  easily  and  quickly  made.     Another  point  in  their 
favor  is  that  they  do  not  take  up  much  floor  space,  as  no  stand  is  used  in  making  them. 

Perfectly  plain  goods  (those  which  have  no  patterns)  are  the  only  kind  that  can  be 
used  for  this  particular  drape,  as  plaid  or  figured  goods  do  not  show  to  advantage  when 
arranged  in  this  way.  Broadcloth,  cashmere  and  other  similar  fabrics  having  a  fine  smooth 
texture  are  the  best  to  handle  in  this  manner,  as  the  sheen  of  the  goods  is  brought  out 
admirably  by  the  smooth  even  folds. 

All  that  is  required  for  this  drape  is  a  piece  of  wood  10  inches  square.    This  is  fastened 


to  the  top  of  the  back  or  the  side  of  the  window  by  a  strip  of  wood,  as  is  shown  in  Fig.  1. 
If  the  background  will  not  permit  of  this  arrangement,  the  square  board  is  braced  from  be- 
neath, always  using  care  to  keep  it  in  perfectly  horizontal  position. 

Open  up  the  goods  as  usual  and,  leaving  the  bolt  at  the  right,  begin  the  drape  at  point 
A  on  the  left.  Fig.  2.  Carry  the  goods  up  over  the  board,  allowing  the  upper  selvage  to 
•extend  back  only  2  inches  beyond  the  corners  B  and  C.  This  leaves  about  one-third 
of  the  board  uncovered  but  that  does  not  matter,  as  the  top  cannot  be  seen.  The  back 
selvage  of  the  left  hand  sweep  is  turned  under  and  a  box-pleat  is  formed  beginning  at 
point  B  and  extending  down  in  a  generous  sweep. 

Then  pick  up  the  selvage  with  the  right  hand  at  point  D,  Fig.  2,  45  inches  from  point 
C.     With  the  left  hand  draw  the  goods  together  at  point  E,  Fig.  3.     Point  E  is  18  inches 

111 


Li;ss()Ns  IN  Dhafing 


from  i)uiiU  D.  Xuw  cany  tlie  gathered  gauds  up  Id  puinl  C  nu  the  square  board  and  pin 
it  securely  as  indicated  in  Fig.  i.  Allow  enough  goods  for  the  two  right  hand  sweeps  and 
gather  the  upper  edge  of  the  goods  again  as  shown  in  F,  Fig.  3.  The  distance  between  the 
selvage  or  point  F  and  the  place  where  the  goods  are  gathered  is  10  inches.  This  is  carried 
just  back  of  point  C  and  pinned  close  behind  the  first  pin.  The  object  in  gathering  the 
goods  at  F  is  to  form  the  folds  in  the  l)ack  sweep. 

Now  double  the  point  D  over  backwards  making  the  loop  as  shown  in  Drape  15.  If 
the  goods  arc  too  soft  to  stand  out  properly  a  piece  of  paper  should  be  used  to  stiffen  the 
loop,  always  keeping  the  loop  in  a  natural  loose  shape  that  does  not  show  the  stiffening. 
Take  three  remnants  of  velvet  or  satin  ribbon  about  ^^-yard  long  in  three  harmonizing 
colors  or  in  throe  shades  of  one  color  and  l)ind  tightly  around  the  base  of  the  loop  at  point 
C.     Draw   the  ribl  on  through  an  ornamental  buckle  and  form  the  end  into  three  loops  of 


different  lengths.     The  upper  part  of  the   ( 

arrange   the   folds  and  pleats   in   sweeps. 

need  to  be  straightened  out  and  smoothed 

will   have   to   be   pinned    up   closely   to   kcej 

of  the   forward   folds  that  bang   from   the   wooden   s(i 


Wall  Drape  5 

irape   is   now 

inishei 

These   will    fo 

-m    llu 

.     Tlie   lower 

fob  is   ( 

1)   tlum    from 

liangii 

llial  remains  is  to 
laturally  and  only 
iif  the  rear  sweep 
md    showing    back 


One  of   the  most   particular   jxiints 
fall    straight    down    from    tiie    squari'    b 
care,  arranging  the    folds    on    the   left 
Beginning  at   the   bottom    run   your    tin; 


n  this  drape  is  the  arrangement  of  the  folds  that 
ird.  Tliese  must  be  straightened  out  with  great 
(le  in  a  cascade  effect,  as  indicated  in  Drape  !•"•. 
■rs    ui)   to   the   top   between    eacli    fold   on    the    right 


hand    side   so   the    line   of    the    fold    e.xtencls   cK 
There  are  two  loops  that  hang  down  below   th 

112 


ir    and    slrai;-;bt    to    the    buckle    at    the   top. 
buckle. 


Lkssons  in  Dhapinc. 


WALLED  RAPE  6 

DRAPE  6   shows  another   form  of   wall   drape  somewhat  similar   to   the  one  shown   in 
drape  5.     It  is  even  simpler  than  the  latter.     It  is  formed  over  a  semi-circle  board 
fastened  to  the  top  of  the  back  or  end  of  the  window  in  the  manner  shown  in  Fig.  1. 
The  diameter  of  the  board  is  16  inches.     When  placed  at  the  top  of  the  windows  the  back 
edge  of  the  board  should  stand  out  3  inches  in  front  of  the  background. 

A  double  pattern  of  goods  is  required  and  after  it  has  been  opened  in  the  usual  manner 
the  end  is  carried  over  to  A  Fig.  2  from  which  point  the  drape  is  started.  Leaving  enough 
goods  to  form  the  sweep  at  the  left,  the  upper  selvage  is  carried  up  over  the  semicircular 
board,  allowing  about  2  inches  to  lap  over  to  back  of  the  board.    Care  must  be  used  to  keep 


the  goods  in  a  perfectly  straight  line  with  the  back  of  the  board,  otherwise  the  folds  will  not 
fall  evenly.  Then  carry  the  goods  over  to  a  point  at  the  top  of  the  side  of  the  window  D 
and  pin.  Bring  the  goods  forward,  allowing  for  the  two  front  sweeps.  The  excess  goods, 
if  there  Le  any,  is  taken  up  in  the  puffing  at  the  right  side. 

Take  the  upper  selvage  at  the  end  of  the  goods.  Hold  point  E  in  the  left  hand  and 
gather  the  goods  with  the  right  hand  at  point  F,  which  is  ^20  inches  below  point  E.  Carry 
the  gathered  goods  up  to  the  wooden  semicircle  and  pin  on  top  near  the  edge  at  a  point 
about  5  or  6  inches  from  the  right  end  of  C.  Then  double  back  to  the  point  E  so  it  cannot 
be  seen  and  a  loop  is  formed.  If  the  loop  requires  stiffening,  do  it  with  paper  in  such  a 
manner  that  the  cloth  is  not  stretched  or  the  folds  effaced.  A  plain  velvet  knot  is  made  just 
above  the  point  where  the  loop  is  pinned  to  the  board. 
8  113 


Lessons  in  Draping 


The  knot  is  formed  of  two  pieces  across  the  width  of  the  velvet  and  al)OUt  Vs  yard  wide. 
The  velvet  may  be  in  the  two  harmonizing  colors  or  in  a  light  and  dark  shade  of  one  color. 
The  two  pieces  are  pinned  back  of  the  base  of  the  loop  and  are  twisted  together  and  brought 
around  under  the  loop  close  to  the  pin.  Another  turn  is  taken  close  up  against  and  above 
the  first  turn.  The  ends  are  then  carried  over  to  the  back  and  tucked  under  the  last  turn, 
which  holds  them  in  place.  A  good  deal  of  care  should  be  exercised  in  choosing  the  colors 
of  the  velvet,  as  the  right  shades  will  bring  out  the  color  of  the  goods  beautifully. 

A  piece  of  lieavy  Venetian  or  Irish  lace  (edging)  is  fastened  with  the  loop  by  the 
velvet  knot  from  which  it  emerges  and  follows  the  curve  of  the  goods  over  to  the  point  D 
and  then  down  the  edge  of  the  right  liand  sweep  to  the  puffing,  where  the  end  is  concealed. 

All  that  now  remains  to  be  done  is  to  arrange  the  folds  and  sweeps  and  the  l)eauty  of 


Wall  Drape  6 


the  drape  depends  entirely  upon  the  manner  in  which  this  is  done.  First  arrange  the  left 
hand  sweep.  This  is  done  by  turning  under  the  lower  selvage  in  front  and  making  three 
wide  pleats.  The  upper  selvage  is  turned  under  at  the  back  of  the  top  pleat.  The  folds 
that  fall  from  the  half  circle  will  form  themselves  and  require  only  to  be  smoothed 
out.  The  folds  that  hang  below  point  E  are  arranged  in  a  cascade.  The  other  features 
of  this  drape  are  too  apparent  tx5  require  any  explanations.  This  drape  is  particularly 
adapted  to  broadcloths,  as  the  semi-circle  causes  the  folds  to  form  beautifully,  thus 
bringing  out  the  rich,  dull  lustre  of  the  fabric  and  giving  a  light  and  shade  effect  that 
cannot  be  equaled  by  any  other  method  of  handling.  Another  reason  that  this  is  a  good 
way  of  draping  broadcloth  is  because  the  goods  arc  not  injured  in  the  least.  Only  two  pins 
are  used  in  the  entire  drape  and  they  are  placed  at  points  where  the  strain  is  very  slight. 
If  the  decorator  wishes  to  reverse  this  drape  it  can  be  done  by  starting  on  the  opposite  side. 

Ill 


Lessons  in  Draping 


WALL  DRAPE  7 

HERE  is   a   good   idea    for   a   background   drape.     The  feature   of   the  drape   is   in   the 
using  of  a  wooden  chopping  bowl  as  a  top  of  the  draping  stand. 
Fig.   1   shows   the  wooden  arm,  or  bracket,  topped   with  this   wooden   bowl.     This 
bracket  is  fastened  on  the  top  of  tlic  window  border  and  the  dress  goods  draped  over  same 
in  one  of  the  many  ways  possible. 

In  Figure  2  is  shown  one  way  of  draping  the  dress  goods.  The  goods  are  brought  up 
over  the  bowl  and  allowed  to  fall  in  natural,  graceful  folds  all  about  the  edge  of  the  bowl. 
The  long  sweeps  can  be  arranged  in  many  different  ways. 

This  same  bowl  idea  can  be  used  on  the  top  of  all  tlie  otlier  stands  in  tlie  window,  thus 
keeping  the  window  in  perfect  iiarmony.     Then,  too,  for  making  stands  for  the  showing  of 


Wall  Drape  7 

blankets,  comfortables,  etc.,  this  bowl  will  give  you  something  new  to  spring  in  your  displays. 
The  same  size  bowl  should  be  used  on  all  the  stands,  although  various  sized  bowls  should 
look  well  where  you  have  various  heights  and  sizes  of  stands  and  drapes. 

These  bowls  can  be  procured  in  the  woodenware  department  of  any  store  that  carries 
this  line.  If  you  have  a  strictly  dry  goods  store,  you  will  have  to  get  these  bowls  from 
some  department  store,  hardware,  or  o  and  10  cent  store. 

Practically  any  drape  that  we  show  in  this  book  as  being  draped  over  an  oval  or  circle 
top  can  be  used  over  this  bowl. 


115 


Lessons  in  Draping 


Window  No.  1 

COMPLETED    WALL    DRAPE    WINDOWS 

Broadcloth  Draping  and  use  of  Accessories  on  Drapes. 

WE  COMPLETE  our  chapter  on  wall  drapes  by  showing  their  use  in  completely  draped 
windows  and  also  show  ideas  for  decorating  the  tops  of  drapes  and  show  in  the 
small  sketch  on  this  page  how  you  can  adapt  wall  drapes  for  use  on  extremely  tall 
draping  stands.    As  we  complete  this  chapter  it  is  a  good  place  to  give  you  a  few  points  on 
the  draping  of  broadcloths. 

From  their  peculiar  nature,  broadcloths  have  to  lie  shown   in   a  manner   different   from 


Wall  Drape  Used  on  a  High  Draping  Stand 
llfi 


Lkssons  in  Dhaimno 


Window  No.  2 
any  other  fabric.  The  fine  nap  of  the  cloth  gives  it  a  dull  lustre  that  is  very  susccptililc 
to  light  effects,  and  for  this  reason  its  greatest  beauties  are  brought  out  by  an  arrange- 
ment which  gives  a  varied  effect  of  lights  and  shadows.  Broadcloth  has  no  pattern  to  dis- 
play, and  there  is,  therefore,  no  need  of  displaying  large  surfaces  as  with  Scotch  plaids  or 
other  figured  or  rough  finished  goods.  The  main  thing  with  broadcloth  is  to  bring  out  the 
beautiful  colors  and  the  soft  lustre  that  betokens  the  fine  texture  of  the  goods.  This  is 
best  accomplished  by  pleats  and  long  sweeping  folds. 

As  to  the  background  or  window  setting— that  should  be  unostentatious,  simple  and 
dignified,  yet  rich,  to  be  in  keeping  with  the  goods.  Plain  backgrounds  of  mirrors  or  wood 
are  best  and  the  less  ornamentation  there  is,  the  better.  For  the  floor  covering,  cream 
colored  felt  or  cottonette,  laid  smoothly,  cannot  be  improved  upon.  All  the  brightening  up 
of  the  display  that  is  needed  can  be  had  from  accessories  such  as  buckles,  furs  and  knots 
of  velvet,  judiciously  used. 

Broadcloth  displays  can  l)c  made  especially  effective  when  they  arc  shown  in  a  series 
of  windows  having  a  related  color  harmony.  The  principal  feature  of  the  above  drawings 
of  drapes  arranged  in  complete  windows  is  the  high  wall  drapes.  Some  trimmers  call  them 
"Roman  toga  drape,"  from  the  fact  that  it  was  suggested  by  the  togas  worn  by  Roman 
senators.  These  were  caught  up  with  a  buckle  and  fell  from  the  shoulder  in  somewhat  the 
same  manner  as  shown  here.  These  drapes  arc  only  slightly  different  from  those 
already   described   and   illustrated. 

A  suggestion  as  to  color  and  an  explanation  of  drapes  shown  in  our  window  1  is  as 
follows : 

Beginning  at  the  left  the  first  piece  can  be  light  coral  draped  in  the  Roman  toga  style 
from  a  small  square  board  placed  at  the  top  of  the  background.  The  points  from  which 
the  folds  fall  are  to  be  set  off  by  a  mink  skin  held  by  a  dull  gold  buckle,  above  which  place 
three  loops  of  velvet  ribbon,  varying  in  color  from  coral  to  light  pink.  The  second  drape 
can  be  tan  goods  draped  over  a  square  topped  home-made  stand.  Two  mink  skins  to  be 
fastened  at  the  top  by  a  Roman  gold  buckle  with  an  arrangement  of  coral  and  pink  velvet 
ribbons,  as  shown  in  Fig.  3  in  the  diagram  that  accompanies  this  article.  The  third  drape 
has  a  semicircular  board  at  the  top  of  the  background.  This  third  or  middle  drape  is  also 
in  the  toga  style.     The  cloth  can  be  a  medium   shade  of  coral.     Three  mink  skins  to  be 

117 


T.HSSONS    IN    DHAPING 


Suggestions  for  Use  of  Accessories  on  Top  of  Drapes 

thrown  across  the  top.  The  fourth  drape  to  be  of  tan  cloth  over  a  stand  with  a  sloping 
top.  It  can  be  set  off  by  a  large  gold  buckle  with  an  arrangement  of  coral  and  pink  rib- 
bons and  mink  skin,  as  shown  in  Sketch  1  in  the  diasram.  The  lifth  drape  at  the  right  end 
of  the  window  to  be  of  deep  coral  with  several  mink  skins  thrown  over  one  corner. 

Here  are  suggestions  for  drapes  arranged  in  the  full  window.  No.  2  in  this  window, 
the  first  and  third  drapes  (from  the  left),  can  be  in  two  shades  of  lavender.  The  second 
drape  of  dark  plum  color,  and  the  fourth  of  a  lighter  shade  of  the  same  color.  Chinchilla 
fur  and  buckles  set  with  rhinestones  look  well  used  in  connection  with  wide  satin  ribbons, 
varying  from  dark  wine  to  pale  lavender. 

Our  small  illustration  is  intended  to  show  tlie  construction  of  one  form  of  the  toga 
drape.  We  show  it  draped  over  a  high  draping  stand  but  it  should  not  be  made  over  a 
stand  unless  it  is  a  very  high  one.  It  shows  to  best  advantage  when  made  over  a  board, 
fastened  to  the  top  of  background,  from  7  to  S  feet  above  tlie  floor  of  the  window,  as 
shown  in  the  windows  1  and  2.  This  (Irai)e  has  a  top  in  the  form  of  a  semicircle.  The 
weight  and  softness  of  broadcloth  cause  it  to  fall  in  more  perfect  folds  than  any  other 
kind  of  goods,  and  the  round  topped  stand  brings  out  this  quality  of  the  goods  perfectly. 
It  will  be  noted  that  the  folds  are  full,  round  and  even.  They  show  the  lustrous  finish 
of  the  goods  perfectly. 

We  now  show  you  a  set  of  ideas  for  tlie  fmishing  off  of  the  tops  of  various  drapes. 

Broadcloth  being  all  in  one  tone  requires  some  spot  of  color  to  set  it  off.  In  our 
sketches  are  shown  a  numljer  of  ideas  for  combining  buckles,  ril)bons,  furs  and  laces. 
These  are  a  few  of  the  arrangements  that  can  be  used  on  the  drapes  explained  in  this 
book.  In  using  these  little  finishes  cautii>n  slundd  be  exercised  not  to  overdo  them.  They 
are  intended  only  to  enliven  the  monotone  of  the  fabric,  and  should  not  be  large  or  strong 
enough  to  overshadow  the  goods.  The  sketches  shown  here  will  suggest  to  the  trimmer 
many  other  combinations. 

118 


Boi/r    D  HA  PES 


119 


Bolt    Dhapks 


BOLT  DRAPES 

OXl''   of  the  vcrj-   earliest   and   simplest   forms   of   draping   was   to   unroll   a   quantity  of 
goods  ofT  the  end  of  a  bolt  and  drape  this  loose  goods  over  the  bolt  or  around  it. 
Some  very  clever  displays   can  be  made    with    the    whole    bolts    of    goods    and    by 
draping    some    of   the    goods   over   other   Ixilts  or  lixtures. 

On  the  opposite  page  we  show  fourteen  dilTcM-cnt  Iwilt  drapes  and  a  sliort  description  of 
each  one  follows : 

Fig.  1  shows  how  to  improve  the  looks  of  a  bolt  of  goods  that  is  being  shown  in  the 
window.     This  is  done  by  tying  a  ril)l)on  around  it  and  finishing  off  with  a  bow. 

Fig.  2  shows  how  to  do  the  same  tiling  witli  two  bolts  of  goods.  Notice  that  the  two 
bolts  are  slightly  crossed. 

Fig.  3  shows  a  bolt  up-ended  with  a  ribl)on  bow  used  on  same  in  connection  with 
parasol,  gloves  and  purse. 

Fig.  4  shows  how  a  bolt  of  goods  can  be  placed  on  the  scat  of  a  chair  and  one 
end  held  up  in  a  ribbon  loop.  Notice  the  graceful  way  in  which  the  end  of  the  goods 
unrolled  from  the  bolt  is  draped  around  the  base  of  the  bolt  and  on  to  the  floor.  This 
will  make  a  most  effective  drape  used  in  a  large  window. 

Fig.  5  is  an  idea  for  laying  one  bolt  on  the  floor  while  another  stands  on  end.  Ribbon 
bands  are  placed  around  each  bolt,  and  the  end  of  the  goods  draped  to  the  floor. 

Fig.  6  represents  a  bolt  placed  against  a  small  upright  stand  and  one  end  of  the  goods 
draped  over  another  stand  somewhat  taller  than  the  bolt  itself.  Buttons,  parasol  and  purse 
are  used  as  accessories. 

Fig.  7  shows  a  group  of  bolts,  three  of  them  up-ended  with  two  others  across  them. 
Several  ends  of  the  goods  are  draped  over  these  bolts. 

Fig.  8  is  a  very  attractive  arrangement  of  accessories  in  connection  with  a  bolt  of 
goods.    A  hat,  purse,  parasol  and  buttons  are  displayed  as  well  as  the  goods  itself. 

Fig.  9  shows  a  clever  display  of  outing  flannel.  The  bolt  is  inclined  onto  a  stand  and 
the  goods  filled  around  the  base  of  bolt.  A  tennis  racket  and  tennis  balls  are  shown  on 
the  floor. 

Fig.  10.  For  large  window  displays  where  only  a  few  pieces  of  goods  are  to  be  shown 
it  is  a  clever  thing  to  make  draping  stands  in  the  shape  of  bolts,  only  of  course  having 
them,  many  times  the  size  of  a  Veal  bolt  of  goods.     In  Fig.  10  we  show  two  such  drapes. 

Figs.  11,  12,  13  and  14  all  represent  different  ways  of  draping 
this  enlarged  bolt. 

Fig.  15  is  a  dress-goods  drape  which  suggests  a  tailor-made 
suit  at  a  glance.  The  plain,  tight-roll  parasol  and  short-length 
gloves  help  to  give  this  impression,  as  well  as  suggest  that 
they  should  be  purchased,  too. 

The  buttons  attached  to  the  holt  are  selected   to  match   the 
goods   and   being   detached   from   the   original    card   and    shown 
directly    against    the    goods,    produce    a   much    more    suggestive 
effect  than  if  shown  in  the  old  way.     The  addition 
of  the  hat  gives  balance  to  the  unit  and  makes  the 
whole  complete. 

A  twenty-four  inch  w,ood  pedestal  was  used  for 
this  drape,  with  an  oblong  slab,  twelve  inches  wide 
and  twenty-four  inches  long.  The  drape  is  made 
from  a  one  suit  length,  the  bolt  lieing  a  dummy  made 
of  cardboard  and  covered  with  a  part  of  the  goods 
in  the  center  of  the  length. 

120 


Bolt    Drapes 


In  our  illustration  on  this  page,  Fig.  10,  we  show  one  of  the  very  best  bolt  drapes 
designed  for  use  in  the  showing  of  wool  dress  goods. 

A  careful  look  at  the  drawing  will  show  you  how  the  dr;ipe  is  made.  A  little  de- 
scription will,  however,  be  a  help. 

The  idea  is  to  make  a  large  dummy  bolt  and  cover  same  with  a  width  of  tlie  cloth. 
These  drapes  to  start  from  the  top  and  liack  of  this  false  bolt. 

The  bolt  is  placed  on  a  table  in  order  to  get  the  long  sweep  or  drape  of  cloth  to  the 
floor  and  in  order  to  get  the  garland  drape  over  the  edge  of  the  table.  This  table  also  adds 
a  touch  of  novelty  and  attractiveness  to  the  display  that  will  be  a  help  in  gaining  attention. 

This  table  can  be  borrowed  from  a  neighboring  furniture  store  and  should  be  as  fine 
an  example  of  a  table  as  you  can  get. 

There  are  many  ways  of  finishing  or  trimming  this  drape 
of  velvet  ribbon  are  fastened  diagonally  across  the  l)olt  and 
on  the  front  of  the  bolt. 

The  trimmer  can  plan  to  use  the  bolt  idea  in  other  ways. 
on  chairs,  on  plateaus,  or  on  the  window  floor.  Another  idt 
display  of  drapes,  making  use  of  the  various  adaptations  of  the  bolt  idea. 

The  same  idea  can  be  further  introduced  into  the  display  of  silks,  linens,  wash  goods 
and  other  yard  goods  that  come  in  bolt  form. 

To  make  these  large  bolts  all  y,ou 
need  do  is  to  cut  the  two  ends  out  of 
inch  lumber,  connect  them  with  thin 
strips  of  wood,  such  as  lath,  and  then 
cover  this  over  with  carpet-paper  or 
bristol-board.  If  light  goods  are  to  be 
shown  it  will  be  a  wise  thing  to  cover 
the   bolt  over  with   white  nnislin.  ;      M^ .W       '":S  M^ 


We  illustrate  how  two  bands 
bow  three  buttons  are  pinned 

He  can  place  it  on  pedestals, 
a  would  lie  to  plan  the  entire 


Drawn  by  Geo,  J.  Cowan 


Fig.   16 


121 


FURNITURE   AS    DRAPING   FIXTURES 

Very    iNTtRtsTiNG    Drapes    can    be    Made    in    Connection    with    Various 
Pieces  of  Furniture 

<<"¥  TARIETY  is  the  spice  of  life,"  is  a  trite  saying  that  can  be  converted  into  "Variety 
V  gives  life  to  your  displays."  One  of  the  very  helpful  things  in  giving  variety  to 
your  drapes  is  found  in  the  possibility  of  using  pieces  of  furniture  in  place  of  draping 
stands,   fixtures   or  forms. 

The  furniture  can  be  used  in  a  great  number  of  ways,  such  as  accessories  to  the 
display  or  as  the  fixtures  on  which  to  arrange  the  drapes.  Our  illustrations  on  the  opposite 
page   will   clearly  illustrate  our  point. 

In  Fig.  1  a  tall  standard  is  fastened  to  back  nf  chair  and  dress  goods  allowed  l.o 
drape   from  top  of  stand  over  the  top  of  chair  and  then  over  the  seat  of  the  chair. 

Fig.  2  shows  how  the  end  of  a  bolt  of  goods  can  be  thrown  over  the  scat  and  back 
of  a  chair  and  allowed  to  drape  on  down  back  of  the  chair  to  the  floor.  Artificial  flowers 
placed  on  the  seat  of  the  cliair  completes  this   drape. 

Our  Fig.  3  shows  another  chair  drape  with  the  goods  simply  draped  over  the  scat 
of  the  chairs  and  other  goods  added  to  the  display,  such  as  silk  vest,  petticoat  and 
slippers. 

We  next  show  the  use  of  a  small  table  or  stand.  First  we  show  the  talile  as  a  draping 
stand  in  Fig.  4  with  goods  draped  irom  the  top  down  to  the  shelf  and  then  to  the  floor. 
A  vase  of  flowers,  a  fan  and  pair  of  gloves  complete    the  display. 

Next  in  Fig.  5  we  show  how  the  tables  are  merely  used  as  a  decoration  in  the  window 
in  combination  with  the  very  unique  drape  suspended  from  a  large  circular  frame  fas- 
tened to  top  of  window  backgrouml.  The  tables  are  used  to  support  large  baskets  or 
bowls  of  flowers. 

\Vc  show  in  our  Figs,  (i,  7  and  8  three  separate  draping  ideas  and  have  so  arranged 
liuni   that   taken   all  together  they  make  a   complete  arrangement   for  a  window  display. 

Here  we  demonstrate  how  to  drape  draperies  or  curtains  on  various  bits  of  furniture. 
Tin's  is  a  most  api)r()priate  idea  Ix'cause  these  goods  are  all  classed  as  furnishings  for 
a  house. 

In  Fig.  G  we  suggest  how  a  screen  can  be  u^ed  to  support  a  drape  oi  curtain  goods. 
A  chair  is  placed  near  the  screen  in  order  to  complete  this  unit   of  display. 

In  Fig.  7  wc  show  how  the  goods  can  be  draped  through  the  handle  of  llie  lamp, 
then  down  to  the  table  toj)  and  then  on  down  to   the  Ibwu-. 

Fig.  8  shows  a  simple  drape  of  a  curtain  o\cr  a  chair,  the  curtain  or  goods  being 
puffed  at  the  top  of  the  chair. 

b'urniture  thus  solves  the  question  of  certain  of  your  displays.  It  is  easy  to  get, 
because,  sboidd  \oii  not  have  it  in  your  store,  you  should  be  able  to  Iiorrow  it  from  \<n\v 
nearest   furniture   dealer. 


122 


123 


Furniture  as  Draping  Fixtuhks 


New  ways  of  draping  dress  goods  are  continually  being  thought  of.  And  it  is  not 
hard  to  plan  new  drapes  if  you  first  acquaint  yourself  with  most  of  the  old  ones.  These 
old  drapes  suggest  new  ones.  These  drapes  that  we  show  may  not  be  absolutely  new, 
but  we  l)elievc  they  will  be  new  to  most  of  our  readers. 

We  show  in  our  Fig.  1  a  very  clever  new  drape.  The  flower-stand  is  simply  a  wooden 
box  supported  by  four  wooden  legs  and  should  be  painted  in  white  enamel.  The  flower- 
box  is  then  filled  with  all  sorts  of  foliage,  either  growing  plants  or  great  sprays  of  leaves, 
either  real  or  artificial.  The  dress  goods  are  then  draped  about  the  box  as  shown  in 
the  drawing.  Ribbons  and  parasols  and  other  accessories  can  be  used  in  connection  with 
this  trim. 

We  next   show    (Fig.  2)    a  drape  making  use  of  a  chair. 


a  tall  stand,  one  fold  of 
the  goods  being  brought 
through  the  back  of  a 
chair,  over  the  scat  and 
down  on  the  floor.  Tliis 
drape  is  a  different  dc- 
vel^ipment  of  Drape  1, 
shown  in  the  preceding 
drawing. 

Several  difl'erent  va- 
rieties of  trimmings  are 
draped  from  the  stand 
over  the  extreme  top  of 
chair,  over  the  seat  and 
on  the  floor.  This  ar- 
rangement is  very  clear- 
ly shown  in  the  draw- 
ing.   A    spray   of   foliage 


The  goods  are  draped  over 
is  thrown  carelessly  on 
the   seat  of  the  chair. 

Our  Drawing  No.  3 
shows  a  very  neat 
m  e  t  li  n  d  of  using  a 
screen  as  a  draping 
stand.  The  goods  are 
caught  up  near  tlie  top 
of  scree  n  and  where 
pinned  are  finished  off 
with  a  cIiifi"on  neck- 
piece or  a  fur.  Another 
good  finish  for  this 
drape  would  be  a  large 
riblioii  bow  and  stream- 
ers.      V  n  u     will      find 


screens  a 
kind  of 
have    in 


\  I'  r  y  nandv 
furniture  fn 
our    windows. 


124 


FCRNITURE    AS    DhAIMNC.    FiXTl'HKS 


Three  examples  of  furniture  win- 
dows showing  how  upholstery  goods 
are  draped  from  the  background  and 
over  the  floor.  These  drapings  were  of 
goods,  colors  and  patterns  that  would 
best  go  in  a  room  outfitted  with  the 
furniture  shown  in  the  window.  Where 
complete  decorative  treatment  for  room 
interior  as  well  as  the  furniture  to  go 
in  room  is  shown,  it  is  a  great  help  to 
the  store  in  suggesting  to  the  customer 
what  he  should  have  or  what  he  might 
have. 


Example  of  upholstery  drapes  used  in  connection  with  furniture.  A  table,  screen  and 
skirt  box  are  used  principally  to  show  how  the  goods  would  look  when  used  to  cover 
screen  or  skirt  box  and  as  a  lamp  shade  on  the  lamp  used  on  the  table.  This  is  a  very 
practical  way  of  showing  these  goods.  125 


Qeo  -J-  ^owe^rvs^    ^g 


12G 


VASE    AND    BASKET    DRAPES 

VASES  and  baskets  can  be  used  in  various  ways  accessory  to  drapes.  They  can  be 
used  as  decorations,  because  of  their  beauty,  or  they  can  be  used  as  shown  in  Figs.  3 
and  4,  showing  fabrics  issuing  from  tlieir  nioutlis  in  imitation  of  something  flowing 
nut  of  the  vases. 

Vases  not  only  serve  the  purpose  of  holding  flowers  but  they  are  also  about  as  bcantifu! 
as  any  ornament  that  one  can  procure   for  decorating. 

In  Fig.  1  we  show  how  a  basket  was  used  in  connection  with  a  drape,  really  serving 
as  the  draping  stand.  The  basket  was  placed  on  top  of  a  box  or  pedestal  and  the  goods 
dropped  down  from  one  handle  in  a  graceful  sweep  to  the  floor,  next  it  was  brought  up 
to  and  around  the  base  of  the  basket,  tied  in  a  knot  and  then  dropped  to  the  floor  and 
completed  by  the  other  end  l)eiiig  brought  up  and  fastened  to  the  other  side  of  the  handle 
of  the  basket.  The  basket  was  fdled  with  artiticial  flowers  that  harmonized  with  the  color 
of  the  fabric. 

Fig.  2  is  an  unusual  drape,  in  that  the  vase  does  not  hold  any  flowers.  The  vase 
therefore,  must  be  so  beautiful  in  itself  that  it  can  afTord  to  be  shown  as  the  sole 
decoration. 

Fig.  3  illustrates  a  completely  trimmed  show  window  having  two  large  vases  over- 
turned on  a  platform  in  the  center  of  the  window  and  drapes  of  filmy  silk  flowing  from 
out  the  mouths  of  the  vases.  Suggestions  of  large  vases  are  made  back  of  these  overturned 
vases  by  covering  stands  with  silk  and  drawing  in  the  centers  with  ribbon.  The  tops  of 
these  stands,  or  vases,  were  filled  in  with  huge  bunches  of  roses. 

Among  the  many  interesting  ideas  contained  in  this  window,  is  the  fence  at  the  sides 
of  the  window  made  out  of  bolts  of  goods. 

The  floor,  too,  is  of  gathered  fabric  and  is  so  arranged  that  where  the  goods  are 
flowing  from  the  vases  it  looks  as   if  there   was  a  puddle  on  the  floor. 

Fig.  4  shows  how  a  vase  or  pitcher  can  be  suspended  in  the  window  or  over  the 
counter  and  any  goods  fastened  in  its  mouth,  thus  suggesting  that  the  goods  are  flowing 
out  of  the  receptacle. 

Fig.  5  represents  a  grouping  of  a  drape  and  a  shirt  waist.  The  goods  are  draped  up 
over  a  stand  and  around  a  small  screen  that  serves  as  a  background  for  the  waist. 
A  vase  is  placed  on  the  floor  to  one  side  of  the  waist  and  lends  much  beauty  to  the 
composition. 


m 


lis 


FLOWER    DRAPES 

ARTIFICIAL  flowers  are  probably  the  most  practical  of  all  decorations  that  are  used 
in  the  show  window.  These  flowers  are  used  most  ,on  the  backgrounds  and  in 
designs  that  serve  as  decorations  for  the  window. 

It  is  possible  and  practical  to  use  these  same  flowers  in  conjunction  with  some  of 
your  drapes.  This  will  tie  up  your  drapes  and  the  window  backgrounds  and  decorations 
very  closely. 

On  the  page  opposite  we  show  nine  different  ways  in  which  flowers  can  be  used  in 
connection   with  drapes  and  at   the   same   time  we   show  you  some   interesting  drapes. 

In  Fig.  1  we  show  how  it  is  possible  to  drape  a  piece  of  goods  through  a  wreath 
of  flowers.  This  wreath  is  suspended  by  ribbons  from  the  top  of  a  tall  panel  and  a  show 
card  placed  in  the  wreath.  This  one  idea  will  suggest  to  you  many  other  ways  in  which 
a  wreath  can  be  fitted  into  a  drape. 

Fig.  2  shows  how  a  wreath  is  suspended  by  ribbons  between  two  drapes.  Bouquets 
of  flowers  are  also   fastened  to  the  top  of  the  lower  drape. 

Fig.  3  illustrates  how  a  large  bowl  of  real  or  artificial  flowers  can  be  encased  in  the 
folds  of  the  goods  as  they  lie  on  the  floor  of  the  window.  The  use  of  flowers  that  con- 
trast or  harmonize  with  the  colors  of  the  fabrics  will  make  this  a  very  attractive  display. 

Fig.  4  suggests  the  use  of  foliage  placed  on  the  curved  top  of  a  draping  stand.  This 
foliage  not  only  adds  an  attractive  touch  ,of  color  to  the  drape  but  also  covers  up  part 
of  the  top  of  the  stand. 

Fig.  5  is  an  idea  for  the  center  of  a  window  or  for  use  on  a  counter.  It  consists 
in  draping  several  pieces  of  goods  over  a  bar,  either  suspended  by  ribbons  or  by  means 
of  uprights.  One  piece  of  goods  drapes  over  a  stool,  tabourette  or  pedestal  on  the  top 
of  which  is  placed  a  bowl  of  flowers.  A  spray  of  flowers  is  fastened  at  one  end  of 
the  bar. 

Fig.  6  is  a  trifling  different  arrangement  at  the  top  of  the  same  stand  as  shown  in  Fig.  4. 

Fig.  7  shows  a  window  divider  or  a  specially  built  piece  of  fence  on  one  corner  of 
which  is  placed  a  vase  of  flowers.  Back  of  it  are  several  drapes;  part  of  the  goods  of 
one  of  them  drapes  over  the  fence,  while  another  piece  of  goods  uses  this  divider  as 
a  stand  on  which  to  be  draped. 

Fig.  8  suggests  how  a  drape  of  goods  can  l)e  made  on  a  bay-tree.  At  one  side  is 
a  small  sketch  of  a  framework  showing  how  to  imitate  a  bay-tree  by  placing  small  twigs 
and  flowers  in  a  circle  filled  in  with  wide  mesh  net. 

Fig.  9  illustrates  two  entirely  dift'erent  drapes  held  together  by  means  of  ribbons  and 
foliage. 


129 


130 


USING   ACCESSORIES    WITH    DRAPES 

ELSEWHERE  in  this  book  wc  liavc  touclied  on  the  subject  of  using  various  accessories 
in  connection  with  your  drapes.  There  are  hundreds  ,of  suggestions  along  this  line 
contained  in  this  l^iok,  but  we  have  collected  on  the  page  opposite  ten  very  interesting 
suggestions  that  should  be  most   helpful  to  many  trimmers. 

In  Fig.  1  we  show  how  several  waists  and  a  ])asket  of  flowers,  when  used  with  a 
drape  of  fabrics,  makes  a  most  interesting  display  and  will  tend  to  increase  sales  in  both 
the  yard  goods   and  in  the  shirtwaist  departments. 

Fig.  2  illustrates  a  drape  made  by  draping  the  goods  over  a  parasol,  thus  the  accessory 
serves  as  part  of  the  fixture  as  well   as  displaying  itself. 

Fig.  3  is  another  drape  in  which  a  parasol  enters.  A  belt  also  is  introduced,  having 
the  top  of  the  draping  stand  a  round  piece  of  wood  of  such  a  size  that  the  belt  will 
fit  when  fastened  around  it. 

Fig.  4  also  contains  a  parasol,  and  the  goods  are  draped  over  it  in  a  very  graceful 
manner.  The  foundation  for  this  drape  is  a  panel  or  board  covered  over  with  a  plain 
fabric,  and  the  fancy  fabric  draped  from  one  side  over  the  parasol  and  down  to  the 
floor.     A   fancy  neckpieccis  displayed  in  one  of  the  upper  corners  of  the  panel. 

Fig.  5  shows  a  piece  of  goods  draped  over  a  skirt  form  being  finished  at  the  top 
with  a  hat,  parasol   and   cluster  of  artificial   flowers. 

Fig.  G  is  a  more  elaborate  grouping,  showing  the  tall  drape  serving  more  as  a  back- 
ground to  the  grouping  of  accessories,  such  as  parasols,  hat,  gloves  and  shoes.  A  close 
study  of  this  grouping  will  show  you  exactly  how  it   is  done. 

Fig.  7  is  that  of  a  very  simple  drape  over  an  upright  millinery  stand.  The  hat  is 
placed  on  top  and  two   ribbons  draped  down  at  the  sides  fastened  to  parasols  as  shown. 

Fig.  8  indicates  the  use  of  a  screen  as  a  draping  stand  over  which  is  draped  several 
different  pieces  of  goods  and  such  accessories  as  hat,  parasol,  ribbons,  flowers  and  purse 
are  used. 

Fig.  9  shows  three  pieces  of  goods  draped  over  a  tall  stand  and  then  brought  out 
away  from  the  stand  and  draped  through  floral  wreaths  that  were  placed  on  top  of 
shorter  stands. 

Fig.  10  represents  a  simple  drape  on  two  plain  uprights  that  serve  as  a  background 
to  several  pieces  of  neckwear  shown  on  a  glass  shelf  supported  by  two  stands  over 
which  is  draped  a  continuation   of   the  same  piece  of  goods. 


131 


DRAPES  FOR  TAILORS 

THE  tailor's  windows  today  arc  just  about  the  same  as  they  were  twenty  years 
ago.  Even  in  the  high  class  shops  of  New  York  and  Chicago  there  has  been  no 
perceptible  change.  Away  back  in  the  dim,  forgotten  past,  some  tailor  made  a  lot 
of  cardboard  cylinders  with  wooden  ends.  These  he  set  up  in  rows  like  soldiers  and 
covered  them  with  his  suit  patterns.  This  became  the  accepted  style  for  showing  tailoring 
goods— and  so  it  is  today,  the  same  old  thing— a  geometric  arrangement  that  has  no  more 
artistic  merit  than  a  row  of  tenpins. 

The  tailor's  windows  are  open  to  almost  as  varied  a  treatment  as  any  other  line  of 
goods,  and  the  ideas  we  give  in  this  book  demonstrate  this  and  will  suggest  many  other 
ways  of   showing  suitings. 

As  an  illustration  of  this,  look  on  the  page  opposite,  at  drawings  1,  2,  3  and  4.  Fig.  4 
shows  the  completed  drape,  a  tall  hat-stand  with  a  lower  stand,  having  fastened  on  a  slant 
at  the  top  a  winding  board.  Figs.  1,  2  and  3  show  small  sketches  of  the  fixtures  before  they 
are  draped.  This  drape  shows  the  bolt  having  the  goods  draped  around  the  bolt  and  on  to 
the  floor  in  a  very  graceful  manner,  and  by  means  of  a  hat  and  necktie  you  get  interesting 
bits  of  color  in  the  window  and  show  how  certain  accessories  will  look  with  this  certain 
piece  of  goods. 

As  mentioned  above,  most  tailors  show  the  goods  in  a  most  set  and  symmetrical  manner. 
You  can  change  this  into  an  attractive  display  by  using  many  of  your  old  boxes  or  stands, 
by  arranging  these  fixtures  in  a  broken  or  uneven  arrangement  similar  to  our  Fig.  5. 

Fig.  6  shows  how  the  goods  will  look  when  draped  over  these  boxes  of  uneven  height 
and  also  how  a  few  neckties,  cane  or  other  accessories,  will  help  make  the  display  more 
attractive. 

One  of  the  cleverest  draping  ideas  that  a  tailor  can  possibly  use  is  shown  in  Fig.  7. 

The  original  coat  drape,  shown  in  center  of  illustration,  ansvvers  admirably  to  show 
the  pattern  of  the  goods  and  to  give  a  general  idea  of  how  it  will  appear  when  made  up. 
The  matter  of  draping  is  not  at  all  complicated.  A  suit  pattern  of  3J/2  yards  is  draped 
over  an  ordinary  coat  form  as  follows :  First  cover  the  form  with  a  shirt  and  fancy  vest 
to  harmonize  with  the  goods  that  is  to  be  used.  The  tie  and  handkerchief  are  also  matched 
in  color.  Grasping  the  goods  about  one-third  of  the  distance  from  one  end,  and  letting  it 
drop  over  the  right  shoulder,  the  top  edge  is  then  folded  under  and  the  front  reversed  to 
make  the  lapel.  The  goods  are  then  drawn  over  the  other  shoulder  and  allowed  to  drop 
in  graceful  folds  to  the  floor.  The  end  of  the  right  side  is  draped  up  under  the  form  to 
the  base  of  the  stand.  The  reader's  attention  is  called  to  the  fact  that  in  draping  this 
figure  the  pattern  of  the  goods  must  be  made  to  run  correctly;  that  is,  up  and  down  in  all 
parts  of  the  drape,  as  the  tailor  in  making  a  coat  must  run  the  pattern  in  the  same  direction. 
The  buttons  on  the  front  of  coat  are  merely  pinned  in  place.  The  other  articles  in  the 
drawing  are  all  shown  to  gel  a  better  idea  of  the  chances  to  make  a  very  artistic  unit  with 
this  drape. 


Drapes  for  Tailors 


These  drapes  for  tailors  arc  of  value  to  practically  every  store  handling  men's  clothing, 
whether  they  have  a  tailoring  department  or  not,  as  most  stores,  especially  those  located 
some  distance  from  the  large  market  centers,  have  a  tailor  to  the  trade  mail  order  depart- 
ment. These  tailoring  houses  will  always  gladly  accommodate  the  merchant  with  enough 
suiting,    trousor   and    lining   lengths    for   making   displays    such    as    the   accompanying    units, 


Fig.   » 


which  really  assist    in  giving  a  more  graceful  display  to  accessories,  such  as  gloves,  footwear, 
hats,  shirts,  etc. 

The  unit  drape  No.  8  was  arranged  over  a  large  woofKn  stand  having  a  nine-inch  square 
t/op,  placed  at  about  a  '15-degrec  angle.  The  suiting  is  draped  in  natural  folds  to  the  floor 
in  front,  allowing  the  material  to  hang  in  natural  i)osition  on  either  side.  Tlie  liniu.u  silk. 
which   is   of   a   harmonizing  color   to   the   suiting,   is   pnlTed   on   the   floor   and   then   brought 

134 


Drapes  for  Tailors 


up  on  a  stand  and  formed  into  a  fan  effect.  Canes,  gloves,  hat  complete  this  display.  The 
height  of  the  stand  is  4i-4  feet,  and  in  making  a  complete  window,  using  stands  of  this 
kind,  they  should  be  placed  in  graduated  heights  so  as  to  give  the  entire  display  a  pleasing 
broken  appearance,  varying  from  two  to  six  feet. 

The  men's  suiting  drape  No.  9  is  placed  over  a  large  wooden  stand  having  a  square 
top.    The  top  in  this  case  is  used  in  a  vertical  position  and  the  original  height  of  the  stand 


Fig.   9 


is  four  feet.  The  suiting  is  placed  over  the  stand,  allowing  the  goods  to  fall  to  the  floor 
in  a  graceful,  sloping  effect.  The  crease  of  the  goods  is  placed  on  the  left  of  the  stand  and 
the  right  side  is  draped  by  making  a  BO-inch  loop,  fastening  both  selvages  on  the  right 
forecorner.  The  material  on  the  right  side  is  then  formed  in  the  cascade  effect  and  trimmed 
with  buttons  suitable  for  suiting  of  this  kind.  The  silk  lining  is  draped  over  the  top  in 
three  loops  at  the  left  corner.     Suitable  men's  accessories  complete  this  trim. 

135 


Dhai»i:s  for  1'ailors 


Drape  No.  10  is  placed  over  a  stand  five  feet  in  height  having  a  square  top  with  a 
curved  front  edge.  The  goods  is  draped  in  a  narrower  effect  than  those  shown  in  the 
preceding  drapes,  to  the  floor,  puffing  along  the  floor  with  the  surplus  cloth.  A  large  wing 
effect  of  the  lining  silk  is  draped  over  the  top  of  the  stand  to  each  side,  completing  this  in 
a  peaked  effect  at  the  top  of  the  drape.     Suitable  accessories  add  to  the  proper  tone  of  the 


rig.  10 

unit.     Buttons  may  I)c  used  here  and  there  to  good  advantage  to  still  further  add  grace  to 
the  display  line. 

These  arrangements  will  attract  attention  on  account  of  their  living  so  different  from 
the  customary  goods  displays.  Tlicy  can  l)c  easily  arranged  aii<l  will  well  repay  the  decorator 
for  his  e.xtra  trouble.  There  is  no  limit  If)  the  nuninor  nf  dcsij^ns  that  can  be  created 
along  the  line  suggested  here. 

136 


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DRAPING 
ON 

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^         The  Most 
Interesting 
of   all 

FORMS 

^^^^ 

Draping 

137 


DRAPING  ON   FORMS 

A  CoMPLETi-  Record  of  the  Progress  and  Development  of  Draping  Forms 


EARLY  HALF  SHELL  FORM  DRAPES 

NKW    methods    of    displayirg    merchandise,    new    ideas    or    suggestions    for    arrange- 
ment and  form  are  eagerly  sought  by  the  progressive  trimmer;   their  ntnelty,  and 
departure  from  certain  fixed  rules  for  the  display  of  certain  fabrics,  is  the  object 
ui   his   constant  endeavor. 

Tlie  unit  which  in  itself  comprises  the  utmost  grace  and  beauty  of  outline,  over  which 
the  dainty  fabric  falls  in  graceful  sweep  and  fold,  makes  the  strongest  appeal  to  both  the 
artistic  decorator  and  the  critical  shopper. 

Such  a  unit  is  the  shell  form  originally  designed  by  Mr.  Albert  Koestcr,  for  Marshall 
Field  &  Company,  Chicago.  It  was  in  their  windows  that  the  forms  were  first  displayed, 
and  they  immediately  met  with  popular  favor.  Since  then  the  forms  have  been  copied  in 
all  parts  of  the  country;  and  the  shapes  so  changed  as  to  meet  all  the  requirements  of 
the  prevailing  styles. 

VVc  show  at  the  top  of  this  pai^e  and  at  the  bottom  of  the  next  some  of  the  very 
lirst   drapes  arranged   on   the   original    forms. 

Note  the  graceful  lines  of  the  bodice,  how  the  goods  are  caught  up  and  brought  to  the 
waist  line  with  just  the  proper  fullness  in  the  draping;  observe  the  regal  sweep  of  the 
skirt,  the  goods  falling  naturally  in  perfect  folds. 

It  is  worthy  of  note  that  a  characteristic  feature  of  the  original  is  in  tlic  manner  of 
draping  the  skirt.  It  will  be  seen  that  the  folds  do  not  fall  from  the  waist  line,  but  from 
below  the  hip,  over  which  the  fabric  is  snu)othly  drawn. 

138 


Draping  on  Forms 


Show  window  trimming  which  we  shall  consider  in  its  varions  phases,  is,  in  the  main, 
an  outward  expression  of  inherent  good  taste.  The  enormous  general  progress  which 
marked  the  different  stages  of  retailing  during  the  past  decade  has  at  the  same  time 
developed  the  work  of  the  window  trinnncr  to  such  a  degree  that  today  it  stands  out 
as  a  fine  art. 

One  of  the  most  significant  characteristics  of  this  new  art  is  the  predominant  and 
at  the  same  time  revived  popular  pleasure  in  l)rilliant  shades  of  colors,  in  tinted  effects 
of  materials,  trimmings  or  furnishings  which  are  pleasing  to  the  eye  and  becoming  to 
the  wearer. 

Not  long  ago  unicolorod,  i-Iain  fal.rics  and  dress  goods  would  fill  the  show  windows- 
today  we  see  in  place  of  these  ni,oni)t(.nons  simple  colors,  fresh,  bright  and  fanciful  hues, 
creating  strong  and  lively  contrasts  and  charming  the  eye  by  the  richness  and  variety 
of  color. 

The  widening  and  cxten<ling  of  these  manifold  modern  color  schemes  while  affording 
more  suitable  material  for  the  decorator  than  plain  goods,  places  much  higher  require- 
ments  upon  his   artistic  craftsmanship. 

SILK    OFFERS    GREATEST    OPPORTUNITY    FOR    DECORATION 

No  fabric  will  show  the  effects  of  color  to  greater  advantage  than  silk.  Like  gold 
among  the  minerals,  silk  is  the  nol)lcst  and  most  graceful  material  among  the  various 
fabrics  for  the  use  of  wearing  apparel,  and  in  regard  to  decoration  it  is  the  most  graceful. 
With  no  other  article  will  the  window-dresser  accomplish  such  effective  and  charming 
decorations. 

However,  the  artistic  draping  of  silk,  the  correct  grouping,  Hic  ch.iice  and  composi- 
tion of  shades  to  create  an  impressive  ensemble,  all  these  factors  are  not  so  easily  brought 
about  as  it  may  seem  at  first  sight,  but  are  rather  the  combination  of  special  adaptability, 
of   study  and  of  good  taste. 

BIZARRE    DISPLAYS 

It  should  be  a  matter  of  fine  natural  perception  with  the  window-trimmer  to  select 
patterns  and  shades  best  suited  for  his  purposes  and  form  drapery  and  grouping  accord- 
injjly.  In  other  words,  he  should  know  ar.d  realize  the  character,  the  distinguishing  traits 
of  silk,  as   compared  to  other  materials. 

The  display  of  silk  fabrics  had  reached  in  its  bizarre  and  eccentric  execution  such  a 
point  that  a  reaction  was  only  natural.  As  against  the  prevailing  fashion  of  the  past  few 
seasons,  the  show  windows  of  Europe  and  America  displayed  previously  an  array  of 
drapery  in  silk  which  was  extremely  fantastical.  The  heaviest  damasks  and  brocades  with 
the  most  exquisite  floral  designs,  originated  and  painted  by  prominent  artists,  were  twisted 
and  squeezed  into  the  most  impossible  and  least  appropriate  forms,  such  as  rosettes,  butter- 
flies, musselshells,  flowers,  leaves,  etc.,  as  is  illustrated  elsewhere  in  this  book. 

Such  drapings  are  not  only  contrary  to  the  character  of  the  fabric,  but  are  costly,  as 
silks  exhibited  in  this  way  and  pin  holed,  twisted  and  generally  abused  are  ruined  and 
cannot  be  sold. 


Draping  on  Forms 


THE  USE  OF  THE  DRAPERY  FORM 

To  overcome  this  difficulty  and  make  it  possible  to  display  silk  "as  it  is  worn,"  and  as 
the  peculiarity  of  the  material  requires,  Mr.  Koester,  as  already  mentioned,  invented  a 
special  draping  form,  which  is  now  successfully  in  use  in  practically  all  stores.  Each  year 
as  the  styles  change  this  form  is  newly  modeled  and  thus  kept  strictly  in  style. 

In  using  this  drapery  form  there  is  no  intention  to  copy  a  ready  made  or  finished  dress, 
i.  c.,  to  simulate  in  the  draping  a  complete  gown.     This  must  be  done  on  the  full  figure 


Early  Form  Drapes   No.   2 


forms.  The  aim,  however,  is  to  give  to  the  public  an  idea  liow  tlie  silk  will  look  in  a 
finished  dress.  It  will  also  be  necessary  to  arrange  the  trimming,  be  it  laces,  braids  or 
ribbons  loosely  and  unconventionally  and  not  to  sew  it  or  pin  it  tightly  to  the  silk.  For 
this  very  reason  to  take  away  from  the  draping  form  the  character  of  a  ready-made  gown, 
the  form  is  made  with  only  half  a  bust. 

Sketches  of  Drapes  3  and  4  show  two  different  early  styles  of  draping  on  the  shell 
form,  one  being  in  the  Empire,  the  other  in  the  l&W  style.  The  first  is  suitable  for  display 
of  heavy  silk  goods,  such  as  damasks  with  large  patterns,  etc.  The  second  is  more  adapted 
for  light-weight  silks,  especially  the  modern  Pompadour. 


140 


Draping  on  Forms 


Draimng  on  Forms 


Draping  on  Forms 


We  think  now  that  the  original  draping  forms  were  very  crude  in  sliapc.  In  fact,  in  a 
few  years  there  were  decided  changes  in  the  shape  due  to  changes  in  fashion.  The 
waist  was  very  low  and  small  in  all  its  lines.  The  newer,  form  had  a  high  back  which  gives 
it  a  long  sweeping  line.  This  back  being  long,  gave  another  long  line  from  the  bust,  or 
top,  of  front  of  form  to  the  top  of  back.  Along  this  top  was  an  ideal  place  for  the  ar- 
ranging of  the  dififerent  drapes  or  finishes,  that  gave  one  the  necessary  variety  in  the  con- 
tinued use  of  the  form. 

The  draping  of  the  skirt  also  afforded  one  a  chance  to  originate  new  styles  or  methods 
of  draping.  The  skirt  in  most  cases  must  be  limited  to  merely  the  goods  themselves, 
while  the  upper  edge  of  the  form  not  only  can  be  used  for  a  heading  of  the  goods,  but 
the  introduction  of  such  accessories  as  ribbons,  laces,  buckles,  plumes,  flowers,  etc.  The 
possilnlities  in  connection  with  using  these  accessories  for  the  finish  at  the  top  makes  possible 
an  almost  unlimited  number  of  drapes  on  these  forms. 


REALISTIC    EFFECT 

Tlie  great  advantage  in  using  these  draping  forms 
lies  in  the  fact  that  they  display  the  goods  in  such  a 
manner  that  the  shopper  sees  not  only  how  the  goods 
'look  when  worn,"  but  the  trimmer  can  drape 
them  so  beautifully  that  the  goods  will  look  really 
nnuh  more  beautiful  than  they  can  possibly  look  on 
tlu    majority  of  the  people. 

The  most  of  the  clothing  that  is  worn  is,  of 
couisc,  used  because  of  our  sense  of  modesty  and 
the  necessity  of  having  something  to  protect  our  bodies 
fiom  the  extreme  cold  and  heat.  But  let  us  mention 
luiL  that  the  style  and  beauty  of  the  garments  or 
goods  mean  a  great  deal  in  creating  a  desire  on  the 
part  of  the  customer  for  that  particular  thing  that 
Nou   have   to   sell.     For  they   want   to   appear  at  their 


Drape   5 


143 


Draping  on  Fohms 


\ery  best,  and  it  is  natural  ihal  tlicy  should 
want  goods  that  they  think  will  improve  their 
appearance.  Therefore,  the  better  the  goods  look 
on  display,  the  more  desirable  they  become  to 
the  customer. 

The  proof  that  goods  appear  to  better  ad- 
vantage on  these  forms  is  the  fact  that,  wher- 
ever they  are  used,  it  is  no  unusual  thing  for  the 
trimmer  to  be  kept  busy  taking  out  the  pat- 
terns that  are  on  the  forms.  These  patterns 
looked  so  well  that  the  customer  would  not  have 
anything  else  in  the  house. 

I  have  no  doubt  but  that  every  trimmer  who 
has  used  these  forms  in  his  windows  has  had 
the  above  experience.  In  fact,  I  have  purposely 
put  in  slow-selling  patterns  on  these  forms,  and 
before  night  every  yard  of  these  particular  pat- 
terns was  sold.  You  will  oftentimes  be  sur- 
prised how  beautiful  a  piece  of  goods  will  look 
in  a  window  display  that  absolutely  will  not  sell  by  being  shown  over  the  counter. 

Practically  all  kinds  of  wearable  fabric  can  be  shown  over  these  forms.  Different 
drapes  are,  .of  course,  necessary,  made  so  by  the  texture  and  style  of  goods.  Silks,  being 
narrow  and  stiff,  need  an  entirely  different  method  of  handling  from  wash  goods  and 
wool  dress  goods.  The  accessories,  too,  should  be  in  keeping  with  the  goods  on  display. 
For  silks,  one  should  use  lace,  ribbons,  insertion,  flowers  or  ostrich  plumes.  Buckles  and 
buttons  also  look  well. 

For  wool  goods,  velvet  bows,  ribbons,  heavy  laces  and  appliques,  furs,  buckles,  buttons, 
etc.,  are  in  keeping.     Wash  goods  will  only  need  laces,  ribbons  or  flowers. 

Cheap  goods,  especially  cheap  wash  goods,  are  the  hardest  things  of  all  to  show  on 
this  form.  They  are  generally  narrow  and  stiff  with  starch  or  sizing.  Because  of  this, 
the  cloth  does  not  fall  in  pretty  folds,  and  great  care  and  much  attention  must  be  given 
each  form,  in  order  to  make  it  really  look  well.  You  will  be  well  repaid,  however,  for  any 
labor  in  this  direction,  because  the  goods  will  look  worth  many  times  what  it  really  is. 


Drape  7 


Drape  8 


144 


Draping  on  Fohms 


The  heavier  fabrics,  such  as  Fall  and  Winter  dress  goods,  being  oi  a  heavy  nature, 
should  be  draped  simply.  As  a  rule  these  goods  are  made  up  into  tailored  gowns  or  other 
styles  equally  as  simple.  Therefore,  it  stands  to  reason  that  the  draping  form  should  be 
used  to  carry  out  this  idea.  Show  the  goods  as  they  will  look  when  worn — smooth  sur- 
faces, long  graceful  folds  and  sweeps.  The  fancy  part  can  be  brought  out  in  the  acces- 
sories, and  by  bright  bits  of  colored  ribbons. 

The  draping  form  is  no  harder  to  drape  than  any  of  the  common  wooden  standards 
that  are  in  such  general  use.  They  look  much  more  complicated  but  are  really  easier, 
because  they  give  character  to  the  goods  displayed. 

In  the  full  drape.  No.  5,  that  is  shown  here,  cover  the  form  smoothly  with  the  goods, 
starting  at  the  top  and  working  down  to  the  floor.  Here  the  goods  are  brought  up  to  the 
back  edge  of  the  hip,  and  draped  down  to  the  flioor.  This  process  is  repeated  until  there 
is  the  desired  number  of  folds  radiating  from  the  back  of  the  form  to  the  floor. 

The  goods  are  then  brought  up  the  inside  of  the  form,  so  as  not  to  show,  and  the  end 
is  used  to  make  the  finish  on  the  top,  which  is  clearly  shown  in  the  drawing. 

FINISHES    FOR   THE    TOP 

Before  the  goods  are  draped  on  the  top,  it  is  best  to  arrange  the  velvet  ribbons  which 
are  shown  on  the  waist.  The  lace  is  brought  up  from  the  back  of  waist  to  the  extreme 
top  of  front  of  form,  and  from  there  is  draped  in  a  graceful  cascade  to  the  floor.  The 
velvet  ribbon  loops  are  made  to  stand  out  and  stay  in  place  by  the  use  of  invisible  wire 
loops. 

This  is  a  very  handsome  and  unique  finish,  and  ought  to  make  a  decided  hit  wherever 
used.  Soft  fabrics  would  be  especially  pretty  to  use  for  this  drape,  because  of  the  gathered 
folds  of  the  waist.  Silk  foulards,  wool  challis,  light-weight  wo.ol  goods,  etc.,  would  be 
appropriate.     The  velvet  ribbon  should  be  of  a  contrasting  color. 

Drape  6  shows  a  lace  finish  for  the  top  of  a  form  that  is  very  easily  made  and  its 
construction  is  clearly  shown.  The  flowers  used  as  a  finish  on  the  extreme  front  are  of 
a  very  good  quality  of  the  artificial  variety.  Tea  roses  are  very  pretty  and  also  appro- 
priate. Of  course,  if  the  display  is  only  going  to  be  in  for  a  day  or  so,  natural  flowers 
can  be  used.  But  even  then  they  are  apt  to  wilt  a  trifle,  and  then  you  lose  the  beauty 
of  color  and  line. 

With  silk  and  wash  goods  you  can  be  more  elaborate  in  your  creations,  for  these  goods 
are  generally  made  up  rather  "fussy." 

SEVERAL    OTHER    FINISHES 

In  our  illustrations,  Drapes  7  and  8,  we  show  several  different  ways  of  finishing  off 
the  top  of  these  drapes.  They  are  constructed  on  the  same  principle  as  the  finish  on  the 
No.  5  Drape,  but  more  loops  are  used. 

Where  you  have  several  forms  in  one  window,  it  looks  well  to  have  all  the  drapes 
along  the  same  general  decorative  line,  but  each  one  changed  just  a  trifle,  to  give  variety 
to  the  display.  In  fact,  it  is  not  advisable  to  use  too  many  of  these  forms  in  one  window; 
they  look  much  better  if  only  several  are  used  in  connection  with  several  other  drapes 
of  goods  on  T  stands  with  square,  round  or  oval  tops. 


145 


Draping  on  Forms 


Rightly  used,  there  is 
possibly  no  better  meth- 
od of  displaying  any 
kind  of  dress  fabric 
than  by  means  of  the 
shell  form ;  but  a  great 
many  trinmiLrs  make 
the  mistake  of  falling 
into  a  rut  and  draping 
it  always  in  the  same 
way  month  after  month. 
Now,  no  other  draping 
stand  allows  so  great  a 
variety  of  change  as 
this  form,  and  a  little 
study  of  prevailing  fash- 
ions —  the  trimmings 
used,  etc. — will  suggest 
many  new  combinations 
^"^•P*  •  to  the  average  trimmer. 

The  sketches  shown  here  arc  offered  as  suggestions  along  that  line,  and  also  to  show 
the  various  styles  of  early  drapes.  They  are  all  quite  simple  and  easily  accomplished  by 
any  one  familiar  with  draping  the  form  and  can  easily  be  adapted  to  present  style  forms 
and  drapes. 

The  usual  method  of  showing  the  Empire  style  is  to  bring  the  end  of  the  goods  up 
to  the  highest  point  of  the  back  and  pin,  allowing  the  goods  to  fall  in  long  sweeping  folds 
to  the  floor. 

Fig.  9  shows  a  little  different  treatment  of  this  style.  The  end  of  the  goods  is  first 
folded  back  about  three  inches  to  hide  the  raw  edge.  Three  plaits  about  four  inches  in 
width  are  taken  from  the  top  edge,  and  these  are  pinned  half  way  up  the  back  as  shown. 
The  surplus  of  goods  falls  down  behind  and  fills  out  the  open  space.  Two  buttons  are 
added  here  as  a  finish,  and  several  more  smaller  ones  at  intervals  up  the  back.  A  length 
of  silk  of  a  harmonizing  shade  is  gathered  in  plaits  along  the  top  edge,  ending  in  three 
large  puflfs  in  front  and  a  long,  sweeping  fold  to  floor. 

Fig.  2  shows  another  finish  for  this  same  drape,  if  used  for  wash  goods  or  silk.  A 
broad  sash  of  Dresden  or  Pompadour  ribbon  starts  in  front  and  is  gathered  in  a  large 
butterfly  bow  in  the  back  with  two  long  streamers  reaching  down  on  the  train.  You  can 
finish  a  drape  of  wool  dress  goods  in  this  way  by  using  a  length  of  narrow-width  silk  in 
the  same  way,  making  a  huge  bow  in  the  back  and  trailing  far  out  behind  on  the  floor. 
Drapes  10,  11,  12  and  I'A  are  clearly  understood  illustrations  of  different  finishes  for 
the  tops  of  drapes 


Draping  on  Forms 


Draping  on  Forms 


Tlie  large  drawing  (Drape  14),  illustrates  a  very  neat  drape  in  the  Empire  style. 
The  form  is  first  covered  smoothly,  by  starting  at  the  top  and  bringing  the  goods  to 
the  floor  in  covering  the  form.  From  the  floor  the  goods  are  brought  up  to  the  back 
of  form,  where  the  folds  of  skirt  commence.  One  fold  of  the  goods  is  draped  back  of  the 
form  and  fastened  on  the  front  at  about  the  knee,  then  plaited  in  three  folds  and  draped 
to  the  floor  back  and  to  the  front  of  form.  Now  bring  goods  up  to  same  point  again  in  the 
back  and  drape  the  four  large  folds  of  the  skirt,  the  last  fold  being  brought  up  to  a  point 
half  way  up  the  back  of  waist. 

From  here  the  goods  are  concfalrd  in  Uk-  back  of  furm  and  l)rought  up  to  the  extreme 
point  on  back  and  pinned  in  tiny  plaits,  'i'lie  i;ot)(ls  are  then  brought  down  to  the  front  of 
form,  following  the  upper  edge.  'J'his  width  of  L;oods  lliat  follows  this  upper  edge  is  then 
puffed  or  fulled  out  with  tissue  paper  until  it  appears  as  in  the  drawings.  This  looks  quite 
unusual  to  window  trimmers  of  the  present  day— yet  it  is  only  a  few  years  ago  that  this 
was  used  on  State  street. 

From  the  point  where  last  fastened,  the  goods  arc  dropped  to  the  floor  in  a  graceful 
drape. 

A  very  neat  finish  for  this  drape  is  shown  in  the  drawing.  These  ribbons  are  simply 
laid  on  the  folds  of  cloth  as  shown,  and  worked  up  into  a  bow  at  the  top  and  front  of  the 
form. 

This  drape  is  especially  good  for  wool  goods,  challis,  soft  silks,  and  soft  wash  fabrics, 
such  as  mercerized  cottons,  pongees,  etc. 

A   BELTED    DRAPE 

In  our  small  drawing  (drape  15)  is  shown  a  drape  that  is  a  trifle  different.  First,  the 
form  is  covered  smooth  with  the  goods  the  same  as  our  first  drape.  Then  the  goods  are 
brought  up  to  the  back,  a  short  distance  below  the  waist  line,  and  then  arranged  in  the 
folds,  making  the  skirt  as  seen  in  the  drawing. 

The  last  fold  brings  the  goods  back  to  this  point,  and  from  here  it  is  brought 
around  the  back  of  form  to  the  front  of  waist,  and  then  brought  around  the  front  of 
waist  to  the  back  in  the  form  of  a  belt.  This  belt  can  either  be  narrow  or  in  plaits  or  in  a 
girdle  effect. 

The  goods  are  again  placed  in  the  back  of  the  form  and  brought  up  to  the  extreme 
top  of  form  preparatory  to  making  the  finish  for  top.  This  top  is  a  single  width  of  the 
goods,  puffed  out  with  tissue  paper  and  brought  over  the  top  of  form  in  plaits  at  the  lower 
part  of  top  edge  of  form  (see  drawing). 

Then  over  the  front  of  top  edge  is  dropped  the  goods,  hanging  in  a  graceful  drape 
from  this  point  to  the  floor,  some  distance  in  front  of  the  form. 


148 


Draping  on  Forms 


easier   to   put    the   goods  on   in    a   tight- 

01 


The  next  style  of  draping  form  that  claims  our  attention  is  the  rounded  shoulder  and  hip- 
less  form.  Instead  of  the  usual  pointed  top  draping  form  the  newer  shell  draping  form  liad 
the  shoulder  built  out  as  you  find  it  on  a  regular  full-formed  figure.  Our  Drape  16  illus- 
trates this  shoulder  eiifect  as  compared  with  the  pointed  top  as  shown  in  Drape  17. 

Our  Fig.  16  was  sketched  from  one  of  the  first  drapes  that  appeared  on  one  of  these 
forms.  This  drape  was  a  bordered  foulard  and  gives  you  some  idea  of  a  very  effective 
drape  for  either  bordered  silk  or  wash  goods.  The  train  of  the  skirt  is  made  first  by 
pinning  the  plain  selvage  at  the  back  of  form  below  the  waist  line.  This  can  be  done 
only  with  real  wide  goods.  The  goods  are  then  brought  around  the  front  and  brought 
up  over  the  form. 

These  forms  are  so  slender  that  it  is  much 
fitting  manner  than  on  the  old  type  of  form 
that  had  the  large  protruding  hips.  The  fin- 
ish of  the  top  of  the  form  is  made  with  the 
border  selvage  of  the  goods  in  such  a  way 
as  to  bring  into  prominence  the  border 
pattern. 

Notice    the    large    fancy   button    that 
ishes  the  back  of  waist  line. 

In  our  Drape  17  we  show  one  of  the  most 
sightly  of  the  older  wash-goods  drapes.  Here 
you  make  use  of  the  old  pointed  top,  hipless 
draping  form.  You  can  use  the  form  shown 
in  Fig.  16  by  adapting  the  drape  at  top  to 
conform  with  the  shoulder. 

To  drape  this  form  start  at  the  top  of 
form  with  your  goods,  covering  the  form 
almost  to  the  floor.  Then  take  the  goods  and 
bring  them  up  to  the  back  of  hips  and  pin 
the  selvage  of  goods  on  the  edge  of  form. 
This  leaves  a  large  loop  of  goods  on  the  floor. 
Repeat  until  you  have  three  of  these  loops 
of  such  a  length  on  the  floor  that  you  can 
arrange  them  as  shown  in  the  drawing. 

The    goods    are   then   brought   up    to    the 


Drape   16 


149 


Draping  on   Fohms 


Draping  on  Forms 


Studying  the  new  fashion  tendencies  as  originated  in  the  leading  style  centers  of 
Europe  is  a  most  fascinating  occupation  for  the  window  trimmer.  An  advance  knowledge 
of  all  the  little  details  of  the  new  things  before  they  are  brought  out  each  season,  the 
new  color  combinations  and  the  trimmings  used,  help  the  trimmer,  not  only  in  properly 
displaying  the  ready-to-wear  goods,  but  also  in  planning  new  background  settings  for 
these  displays  and  still  more  especially  in  helping  devise  new  drapes  for  the  showing  of 
fabrics  by  the  yard. 

It  must  be  apparent  to  our  reader  that  from  the  drapes  shown  so  far  in  this  chapter 
that  the  early  styles  used  a  generous  quantity  of  goods  but  that  now  we  find  the  style 
influence  giving  the  narrow  silhouette  figure,  thus  using  less  goods  and  making  the  drapes 
more  severe. 

Large  artificial  flowers  have  in  recent  years  come  in  style  as  a  trimming  and  are  much 
used  as  a  corsage  bouquet  on  evening  and  street  costumes.  A  favorite  flower  is  a  large, 
partly  opened  rose  of  black  silk  with  the  inner  petals  of  pink,  with  perhaps  just  a  touch 
of  gold.  These  make  excellent  trimming  for  the  more  severe  drapes  and  especially  for 
evening  silks. 

Our  Drape  No.  18  suggests  some  of  the  ideas  just  mentioned,  such  as  the  narrow  form 
and  uses  of  artificial  flowers.  This  drape  is  made  over  the  half  shell  hipless  draping 
form,  and  shows  the  use  of  a  front  panel  with  a  lining  of  old  rose  satin  and  a  veiling  of 
gray  chiffon.  This  panel  is  put  on  the  form  first.  A  soft  clinging,  silver  grey  silk  is 
started  at  the  waist  line,  covering 
the  back  part  of  the  form  perfectly 
smooth.  Several  folds  are  now 
brought  up  to  form  the  skirt  in  the 
back  and  then  carried  across  the 
back  to  form  the  folds  coming  out 
in  front.  Now  the  other  end  of  the 
silk  is  brought  up  over  the  top  of 
the  form  and  allowed  to  reach  down 
and  out  on  the  floor.  It  is  fitted 
to  the  top  of  the  form  and  drawn 
in  at  the  back,  then  allowed  to  hang 
in  a  loose  sweep  to  the  floor.  At  a 
point  about  even  with  the  knee  it  is 
drawn  in  and  enclosed  with  a  band 
of  gold  embroidery,  thence  down  to 
the  floor,  where  it  is  formed  in  a 
point  by  folding  under  the  edges  and 
finishing  with  a  gold  tassel.  The 
rose  at  tlie  top  of  the  corsage 
matches  the  color  of  the  panel  front. 


Drape  18 

151 


n  by  Geo.  J.  Cowan 


Dhaping  on  Forms 


DIRECTOIRE    HALF    SHELL    FORM    DRAPES 


DIRECTOIRE  styles 
were  the  next  in- 
fluence in  drap- 
ing. Tlie  enterprising 
trimmer  took  advantage 
of  this  fashion  trend, 
and  his  backgrounds  even 
sliowed  some  suggestions 
of  the  period.  This  was 
an  ideal  opportunity  for 
the  trimmer  to  make  a 
hit  for  himself  and  for 
the  store,  because  of  the 
sensational  features  of 
this  style,  which  was  so 
extensively  exploited  in 
fashion  and  other  papers. 
The  more  pro- 
gressive stores  showed 
extreme  models  of  this 
style  in  their  windows, 
with  the  result  that  the 
streets  have  been  blocked 
a  great  share  of  the 
time. 


In  our  sketch 
No.  1  a  drape  on  the 
shell  form  is  shown 
which  embodies  the 
salient  features  of  the 
Directoire  costume— 
the  slashed  skirt,  long 
clinging  lines,  and  the 
use  of  large  buttons 
as  a  trimming  acces- 
sory. A  decided  in- 
novation also  is  the 
use  of  a  striped  or 
checked  material  for 
the  coat,  and  a  plain 
material  for  the  skirt, 
in  simulation  of  the 
compose  dress. 

In     forming     the 


152 


Draping  on  Forms 


drape  the  left  selvage  of  the  goods  is  turned  in  two  inches,  and  pinned  in  the  center  of  the 
form,  just  above  the  waist  line.  It  is  allowed  to  fall  in  a  straight  line  to  the  floor  and  the 
train  is  formed  in  the  usual  manner.  The  end  of  the  bolt  is  now  carried  behind  and  up 
the  front  of  the  form,  concealing  the  undraped  portion.  It  is  pinned  securely  just  above 
the  waist  line,  as  shown  in  sketch  No.  2.  A  piece  of  silk  or  cretonne  is  now  gathered  about 
the  top  of  the  form,  suggesting  a  vest. 

The  end  of  the  striped  or  checked  material  is  thrown  from  the  back  over  the  top  of 
tlie  form,  one  and  one-half  yards  being  allowed  for  the  coat  drape.     It  is  pinned  at  the  top 


I)  H  APING    ON    FOHIMS 


Draping  on  Forms 


and  back  of  the  form  and  the  selvage  turned  under  to  form  a  clever  imitation  of  the 
Directoire  coat.    The  skirt  is  finished  with  four  large  buttons,  as  shown  in  the  sketch. 

Sketch  No.  3  show^s  a  different  treatment  of  the  trimming  accessories.  In  place  of 
the  vest,  a  cascade  or  fichu  of  lace  is  used,  suggesting  the  costume  of  the  Incroyable,  or  dandy 
of  the  period.  The  slit  in  the  skirt  is  laced  with  narrow  velvet  ribbon.  Illustrations  Nos. 
4,  5  and  G  are  suggestions  of  the  manner  in  which  riI)lion  may  be  used  to  finish  the  top 
of  a  drape  form. 

Sketch  No.  7  illustrates  a  Directoire  drape  executed  on  the  full  Princess  form.  A 
piece  of  cardboard  has  been  tacked  to  the  top  of  the  form  to  give  an  original  finish.  The 
method  of  forming  the  skirt  drape  is  the  same  as  that  illustrated  on  the  half  form.  The 
corsage  is  finished  with  a  piece  of  silk  cretonne  or  wide  Persian  ribbon. 


Drape   12 


155 


Draping  on  Forms 


In  making  the  coat  drape  two  free  ends  of  the  goods  are  necessary.  It  is  best  to  go 
to  the  remnant  stock  for  this  goods.  One  end  of  the  material  is  pinned  at  the  top  of  the 
form,  and  the  coat  drape  executed  in  the 
usual  manner.  The  free  end  is  brought 
around  and  up  to  the  other  side  to  form 
the  opposite  drape.  The  top  is  filled  with 
a  ruching  of  the  silk  or  ribbon  used  for 
the  vest.  Six  large  buttons  arc  used  for  a 
trimming  accessory. 

Our  Figs.  8,  9  and  10  show  ribbon 
treatments  for  the  waist  of  almost  any 
kind  of  drape  on  a  draping  form.  In  No. 
8  the  ribbon  has  been  brought  around  the 
waist  several  times  and  then  dropped  down 
the  side  and  fastened  with  several  knots. 
Fig.  9  is  much  the  same,  only  finished  with 
a  bow  instead  of  knots.  Fig.  10  shows  a 
wide  ribbon  girdle  effect,  held  together 
with  a  mammoth  Inickle. 

DIRECTOIRE    DRAPE 

AND   WINDOW 

Our  Fig.  11  shows  a  window  iiaving 
several  Directoire  drapes  in  same,  and  a 
Directoire  background.  The  wreaths  were 
of  green  foil  paper,  vases  of  gold  with 
pink  roses  with  petals  tipped  with  gold 
bronze  powder.  The  women's  heads  in  the 
wreaths  are  classic  studies  in  embossed 
gold  paper. 

One  of  the  Directoire  drapes  we  had 
photographed  separate!}',  and  show  it  in  our  cut  No.  12 
at  tho  top,  as  usual,  and  drawn  in  some  at  the  back. 
t  iTcct  by  pinning  three  small  tucks  behind,  there  is  a  good  deal  of  fullness  left  in  the 
goods  down  in  front.  This  is  tucked  up  under  and  pinned,  forming  the  ovcrdrape  effect, 
with  the  rest  of  the  goods  drawn  tight  around  the  form.  Very  simple  and  gives  one  some- 
thing absolutely  new.     Buttons  are  placed  as  shown  in  the  cut. 

In  these  articles  on  window  display  and  draping,  we  have  stated  that  one  of  the  most 
important  functions  of  the  window  dresser's  work  is  to  indicate  the  latest  fashions.  This 
statement,  however,  will  bear  repetition  for  the  truth  contained  in  it  is  vital.  Particularly 
in  the  display  of  new  dress  fabrics  should  the  draping  and  arrangement  be  such  as  to  suggest 
the  fashion  in  which  they  arc  to  be  made  and  trimmed.  Fvcry  window  dresser  should 
I)e  a  close  sludciil   of   fashion.     He  should   study   not   only   the   prevailing   styles  but  should 


This   Directoire  drape  is  started 
After   forming  the   draped   tunic 


166 


Draping  on  Forms 


carefully  watch  the  coming  modes  that  are  in  process  of  development.  A  knowledge  even 
of  the  modes  of  by-gone  generations  will  prove  of  value  for  the  ever-moving  finger  of 
fickle  fashion  points  backward  almost  as  often  as  forward  and  the  styles  of  our  great-grand- 
mothers may  be  the  styles  of  tomorrow.  The  fashions  of  1908  were  adapted  from  those  of 
1798 — who  can  say  that  the  styles  of  1834  or  those  of  18G1  may  not  be  equally  dominant 
within  the  next  few  years?  After  all  there  is  very  little  that  is  really  new  in  any  fashion. 
There  may  be  some  minor  embellishments  that  have  never  before  been  used  on  a  gown,  but 
the  essentials  are  recognized  by  the  student  as  an  adaptation  of  what  has  gone  before. 
Style  is  simply  a  matter  of  rearrangement  and  changed  combinations.  Therefore  the  really 
successful  window  dresser  must  be  a  student  of  styles — if  possible  he  should  study  those 
of  the  past — of  ancient  Greece,  Rome,  Egypt,  France,  as  well  as  those  of  Colonial  America. 
But  if  he  cannot  find  time  or  opportunity  to  study  the  old  styles,  he  sliould  certainly  master 
those  of  today  and  tomorrow  and  this  is  one  of  the  reasons  we  have  shown  such  a  really 
complete  range  of  old  and  new  drapes  in  this  book.  No  matter  how  far  he  may  be  from 
the  fashion  centers,  the  trimmer  can  easily  post  himself  through  reading  the  various  illus- 
trated fashion  journals.  There  are  several  of  these  periodicals,  intended  for  dressmakers, 
which  specialize  on  advance  information  regarding  fabrics,  colors,  trimmings,  etc.  From 
such  a  journal  the  window  dresser  can  get  many  valuable  ideas  both  in  draping  and  color 
effects.  Of  course,  if  it  is  possible  for  the  window  dresser  to  make  an  occasional  trip  to 
some  fashion  center,  he  can  get  his  impressions  at  first  hand,  which  is  much  better  than 
getting  them  from  books.  Some  progressive  stores  send  their  buyers  when  they  go  to  market. 
When  a  new  style  is  introduced,  the  window  dresser  should  dissect  and  analyze  it 
carefully  with  the  view  of  discovering  its  draping  possibilities.  Every  fashion  has  some 
peculiar  characteristic  more  or  less  pronounced  and  it  is  this  distinguishing  characteristic 
that  the  decorator  must  bring  out  in  his  drape.  It  is  not  necessary  to  reproduce  every  little 
detail.  That  would  be  undesirable  even  if  it  were  possible.  It  is  enough  to  suggest  the  more 
pronounced  features  of  the  style.  It  is  often  advisable  to  exaggerate  the  style  in  order  to 
emphasize  the  idea.  For  instance,  if  skirts  are  to  be  worn  tight,  the  draping  form  should 
be  draped  as  tightly  as  is  consistent  with  attractiveness.  If  coats  of  a  peculiar  cut  are  to 
be  worn,  that  peculiarity  should  be  indicated  in  the  arrangement  of  the  goods  on  the  form. 


'Directoire Evening  Govm 


Arrows  Jhow  DiTectiomn  Which 
the  Goods  <5hoald  he  Carried — . 


157 


Draping  on  Forms 


Xo  matter  what  the  fashion  may  l)e  it  will  invariably  have  some  marked  characteristic  that 
will  give  the  decorator  his  opportunity.  But  the  general  design  is  not  all — the  trimmer  must 
accurately  show  the  best  color  combinations  as  well  as  the  proper  trimmings. 

The  papier-mache  shell  form  is  by  far  the  best  fixture  for  draping  dress  materials  for 
showing  fashion  tendencies.     It  was  designed  for  that  particular  purpose. 

A  drape  on  a  shell  form  showing  an  exaggeration  of  a  style  tendency  may  appear  highly 
artistic  and  effective  while  the  identical  arrangement  on  a  full  form  would  appear  as  a 
caricature.  This  is  owing  to  close  resemblance  .of  the  full  furni  to  the  human  figure  which 
is  only  broadly  suggested  by  the  shell  form. 

Two  drapes,  12  and  13,  shown  in  connection  with  this  article  illustrate  what  is  meant  by 
indicating  a  style.  Both  of  them,  it  will  be  noted,  suggest  the  Directoire  fashion,  one  being 
in  broadcloth  and  velvet  to  resemble  a  street  suit,  the  other  in  silk  to  indicate  an  evening 
gown.  The  most  striking  characteristics  of  street  suits  made  in  the  Directoire  style  are  the 
immense  revers  and  long  coats.  In  this  example  both  of  these  features  are  suggested 
strongly.  To  make  this  drape,  take  a  single  dress  length  of  broadcloth  in  some  of  the  new 
light  shades.  Begin  as  shown  in  Fig.  2  by  pinning  the  cut  end  horizontally  across  the  side 
of  the  form  about  the  waist  and  allowing  the  surplus  width  to  fall  behind  the  form.  The 
goods  now  falls  to  the  floor  at  the  side.  It  is  smoothed  out  carefully  and  the  short  train  is 
formed  by  folding  the  goods  under  and  bringing  it  around  l)ack  of  the  figure  to  the  opposite 
side.  The  front  of  the  form  is  covered  by  bringing  the  other  cut  end  of  the  material  up 
over  the  front  of  the  bust  and  pinning  to  the  back  of  the   form,   carrying  the   right  hand 


^it-ectoice-  Evcn'0<^  Cc 


Draping  on  Forms 


edge  around  under  where  the  arm  would  be  and  pinning  it  at  the  back.  The  material  is  then 
drawn  in  at  the  waist  and  kept  in  place  by  pins  placed  in  the  back  of  the  form.  Now  turn 
under  the  right  hand  edge  that  descends  to  the  floor  and  form  it  into  a  graceful  curve 
as  shown  in  the  large  drawing. 

Straighten  out  the  front  edge  on  the  floor  and  place  the  surplus  goods  back  of  the 
form.  The  next  step  is  to  tie  a  wide  sash  around  the  bust  a  few  inches  below  the  top.  This 
sash  is  a  full  width  of  soft  liberty  silk  or  crepe  de  chine.  At  the  ends  of  the  sash  are  large 
tassels  in  the  same  color  as  the  broadcloth.  The  knot  at  the  bust  is  tied  as  flat  as  possible. 
We  now  come  to  the  coat,  which  is  made  of  velvet  in  a  much  darker  shade  of  the  same 
color  as  the  broadcloth.  Fold  over  one  length  of  the  velvet  several  times  and  place  it 
in  the  position  shown  in  Fig.  3.    Pin  it  at  points  A  and  B. 

Fold  back  the  left  upper  corner  and  the  lapel  is  formed.  The  skirt  of  the  coat  is 
made  by  bringing  down  the  other  end  of  the  velvet  to  the  desired  length;  folding  it  under 
and  carrying  it  up  again  to  the  back  where  it  is  pinned.  This  skirt  lies  flat  along  the  back 
edge  of  the  form.  The  back  of  the  coat  is  then  formed  by  drawing  the  lower  corner  (C, 
Fig.  5)  around  behind  the  form  where  it  is  pinned.  The  lapel  is  finished  off  with  an  edging 
of  fine  light  embroidery.  All  that  now  remains  to  complete  the  drape  is  to  apply  the  but- 
tons. As  buttons  covered  with  the  same  cloth  as  the  suit  are  very  fashionable  this  year, 
it  would  be  advisable  to  use  buttons  covered  with  the  broadcloth  used  in  this  drape.  They 
are  placed  along  the  skirt  and  on  the  coat  in  the  manner  shown  in  the  large  drawing.  If 
the  trimmer  does  not  care  to  use  this  kind  of  buttons  some  of  the  other  fashionable  kinds 
are  passementerie,  crochet  silk,  kid  or  leather  covered,  or  fancy  metal. 

The  evening  dress  drape  No.  13  is  even  easier  to  make  than  the  foregoing  one.  In 
the  Directoire  evening  gowns  the  dominating  characteristics  are  a  closely  draped  body  with 
an  expansive  train.  This  justifies  showing  the  voluminous  folds  and  puffs  on  the  floor  as 
illustrated  in  the  drawing.  This  scheme  serves  remarkably  well  to  show  up  the  fine  sheen 
and  texture  of  the  light,  soft  silk  that  is  used.  A  double  pattern  of  single  width  silk  is 
needed,  but  this  can  only  be  used  on  the  "hipless"  form,  as  the  larger  forms  are  too  wide 
for  the  silk.  Begin  at  the  top  as  shown  in  Fig.  1,  letting  the  silk  fall  straight  down  to  the 
floor.  Then  draw  it  in  at  the  waist  and  fit  it  close  to  the  form  all  the  way  down.  A  few 
pins  at  the  back  will  hold  it  in  place. 

Now  form  the  four  long  double  folds  on  the  floor  as  indicated  by  the  arrows  in  Fig.  1. 
Puff  up  the  silk  voluminously  at  the  ends  of  each  sweep,  as  this  will  serve  better  to  bring  out 
its  beauties.  When  the  last  fold  has  been  formed,  carry  the  end  of  the  goods  up  behind 
the  form  and  pin  it  at  the  top  of  the  back.  Then  form  it  into  a  shoulder  scarf  and  bring  it 
down  to  a  point  on  the  bust  as  shown  in  the  large  drawing.  Let  the  end  drop  down  some 
distance  and  attach  it  to  an  ornamental  tassel.  The  belt  is  a  wide  band  of  fine  butter  color 
lace  or  gold  or  silver  embroidery.  The  top  and  bottom  are  edged  with  narrow  bands  of 
black  jet  which  give  a  most  unusual  and  distinguished  effect.  Four  large  fancy  buttons 
are  placed  with  their  edges  overlapping  the  jet.  The  tassel  and  belt  should  correspond.  This 
drape  being  of  an  evening  gown  should  be  made  of  some  delicately  colored  silk.     Any  of 

the  season's  shades  will  serve. 

159 


Draping  on  Forms 


HIPLESS  AND  PANNIER    DRAPES 

THE  importance  of  having  not  only 
beautiful   but    stylish   drapes    for 
the  display  of  fabrics  cannot  be 
overlooked.      More    attention    is    being 
given  this  subject  by  the  window  trim- 
mer than  ever  before. 

This  is  made  evident  by  the  greater 
number  of  examples  of  this  class  of 
work  that  we  now  see  in  the  show 
windows. 

Both  the  Drapes  14  and  15  are 
original  and  were  developed  by  styles 
seen  in  the   fashion  papers. 

In  No.  14  the  form  is  first  covered 
with  black  satin ;  then  white  embroid- 
ered mousseline  or  chiflfon  is  draped 
over  the  black  in  a  tunic  effect,  and 
caught  about  two-thirds  down  with  a 
silk  cord,  or  twisted  velvet  ribbon  in 
three  loops.  The  loops  should  be  black 
and  white,  or  some  contrasting  color  that  goes  nicely  with  it.  The  upper  part  of  the  form 
or  waist  is  draped  with  the  satin.  The  overdrape  is  then  brought  from  the  back  sweep 
to  a  straight  upright  stand  at  the  back,  then  out  in  front  of  the  form. 


Drape  li 


Drape   15 

160 


Draping  on  Forms 


The  body  of  Drape  J5  should  be  carried  out  iu  pale  cerise  satin.  The  front  of  the 
form  or  panel  to  be  first  covered  with  pale  pink  chiffon  and  then  covered  with  silver 
lace.  The  buttons  should  be  rather  large  silver  buttons.  The  two  bands  running  across 
the  top  or  bodice  of  velvet  ribbon   (narrow)   of  a  deeper  shade  than  the  satin. 

Both  these  drapes  show  the  use  of  the  hipless,  slender  shell  form  and  it  will  l)c  noticed 
that  the  great  sweep  of  train,  usual  in  the  early  drapes  on  these  forms,  is  almost  entirely 
absent. 

In  fact,  it  is  a  clever  idea  to  swing  this  train  around  to  the  front  of  the  drape,  as 
shown  in  Drape  16.  Here  we  have  a  pannier  drape  on  the  half  shell  form.  This  drape 
is  most  attractive,  being  made  with  a  brocade  silk  having  two  folds  brought  down  to  the 
floor  and  draped  to  the  front.  Another  drape  drops  down  tightly  over  the  hips  and  is 
caught  up  about  at  the  knees  in  order  to  give  the  pannier  effect.  The  upper  part  of  the 
form  is  trimmed  with  a  small  piece  of  lace  and  a  ribbon  bow  at  the  back  of  the  belt  line. 


Drape   IC 


IGl 


Draping  on  Forms 


DRAPING  THE  FULL  FORM 

THE  full  form  for  displaying  dress 
fabrics  was  somewhat  neglected 
during  the  years  that  the  shell 
form  was  first  introduced.  It  is  true 
that  a  few  window  dressers  occasionally 
did  use  it,  but  those  that  got  thorough- 
ly satisfactory  results  were  rare.  One 
reason  why  the  full  form  was  not  used 
more  is  because  many  window  dressers 
seem  to  have  had  the  opinion  that  con- 
siderable genius  was  required  to  make 
an  attractive  drape  of  this  sort.  It 
must  be  admitted  that  a  good  deal  of 
practice  is  necessary  to  get  good  efifect'? 
with  a  full  form.  If  the  decoratoi 
knows  how  to  go  about  it,  howe^eI, 
and  is  thoroughly  familiar  with  the 
principles  of  draping  fabrics,  he  should 
be  able  to  get  very  fair  results  and 
with  practice  ought  to  be  able  to  make 
attractive  drapes.  All  draping  is  done 
on  more  or  less  the  same  principles 
and  one  who  understands  how  to  han- 
dle a  shell  form  can,  with  study  and 
practice,  learn  to  get  equally  good  re- 
sults with  the  full  form. 

The  trouble  with  the  average  wm- 


Draping  on  Forms 


dow  dresser  who  starts  out  to  dress  a  full  form  is  that  he  usually  attempts  too  much. 
He  endeavors  to  make  the  drape  look  like  a  regularly  made  gown,  correct  in  every  detail. 
This  can  be  done,  of  course,  but  it  is  not  absolutely  necessary.  Any  clever  window  dresser 
can  take  a  fashion  model  and  make  a  presentable  copy  of  a  gown  that  is  not  too  compli- 
cated. To  do  this,  however,  requires,  in  most  cases,  a  great  deal  of  time  and  trouble ;  it 
also  spoils  the  goods  in  nine  cases  out  of  ten,  for  s,o  much  pulling,  pinning  and  plaiting 
is  necessary  tliat  delicate  materials  will  not  stand  the  strain.  When  the  drape  is  taken 
down  the  material  is  good  only  for  the  bargain  table.  As  a  matter  of  fact  there  is  no 
reason  why  a  drape  should  be  made  to  look  exactly  like  a  finished  dress.  It  is  not  made 
up  dresses  that  are  for  sale,  but  the  goods  from  which  to  make  them.  The  primary  purpose 
is,  therefore,  to  show  goods  to  the  best  advantage  and  to  bring  out  the  color,  design  and 
texture.  The  secondary  object  is  to  display  the  material  in  such  a  manner  that  it  will 
indicate  in  a  general  way  how  it  would  appear  if  made  up  in  some  prevailing  mode. 

There  are,  of  course,  exceptions  to  this  rule.  There  are  cases  when  it  is  desirable 
to  drape  the  figure  to  make  it  appear  more  nearly  like  a  gown.  Examples  of  this  kind 
of  work  are  shown  in  the   follow'ing  pages. 

We  herewith  illustrate  practical  draping  used  some  years  ago,  one  for  summer  silks 
and  the  other  for  summer  wash  goods.  The  first  consideration  in  planning  a  drape  is  to 
select  some  arrangement  that  will  not  damage  the  goods,  the  next  thing  to  consider  is 
the  window  dresser's  time.  He  cannot  afford  to  spend  one-half  a  day  on  a  single  drape. 
It  is,  of  course,  out  of  the  question  to  illustrate  any  particular  style  exactly,  but  that  is 
not  necessary.  All  that  is  required  is  a  suggestion  to  show  the  principal  features  of  the 
latest  fashion.  The  two  drapes  shown  here  were  selected  because  of  their  extreme  sim- 
plicity, which  permits  of  their  being  handled  by  any  decorator  who  has  had  any  experience 
in  the  handling  ,of   the   draping   form. 

The  first  is  a  drape  which  was  used  to  depict  the  Empire  style,  while  Drape  No.  2 
was  suitable  for  summer  silks  to  illustrate  the  kimono  style  which  was  popular  in  1908. 
It  was  used  with  practically  any  kind  of  colored  silks.  It  is  simple  in  design  and  the  trim- 
mings are  equally  plain.  This  drape  may  be  built  over  any  standard  papier-mache  full 
form   and   two   dress-lengths    are   required   to   make   it. 

The  first  thing  to  do  is  to  build  out  the  shoulders  of  the  form  so  they  will  support 
the  modern  wide  kimono  sleeve  and  give  a  broad  shouldered  effect.  This  is  done  by 
cutting  out  two  stiff  pieces  of  cardboard.  These  are  about  8  or  10  inches  long  by  half 
that  width.     They  are  clipped  out  with  a  pair  ,of  scissors   and  pinned  on  as  Fig.  4  shows. 

To  proceed  with  the  drape  take  the  end  of  the  silk  and  start  it  to  cover  the  left  side 
of  the  figure  and  it  should  be  carried  around  under  the  shoulder,  pinning  it  wherever  nec- 
essary to  get  a  smooth,  even  fit.  When  this  has  been  accomplished,  place  a  pin  or  two 
in  the  back,  about  even  with  the  shoulder.  N,ow  take  a  yard  and  a  half  of  the  silk,  just 
back  of  where  it  is  pinned  at  the  shoulder,  and  make  three  full  plaits  running  the  length 
of  the  goods.  You  now  form  the  sleeve  by  turning  the  goods  over  once.  This  turn  is  made 
as  shown  by  the  dotted  line  and  arrows  in  Fig.  3.  This  drawing  does  not  show  the  plaits 
as  so  many  lines  would  be  confusing.  The  operation,  however,  is  so  simple  and  obvious 
that  there  is  little  chance  of  the  trimmer  making  a  mistake.  The  plaits  form  the  three 
folds  of  the  sleeve  as  illustrated  in  the  full-page  picture.  When  the  folds  of  the  sleeve 
have  been  straightened  out,  a  single  pin  at  the  point  of  the  shoulder  will  hold  them  in  place. 
You  now  have  the  three  plaits  to  bring  down  to  the  front.  This  is  done  as  indicated  in 
Fig.  4.  A  pin  should  be  placed  a  little  below  the  waist  line  and  the  end  of  the  goods  is 
allowed  to  fall  to  the  floor. 

The  silk  on  the  left  side  of  the  upper  part  of  the  figure  is  now  in  place,  the  next  thing 
is  to   form  a  skirt.     This  is  done  by  allowing  the  silk  that  has  been  pinned   in  front  to 


163 


Drapinc.  ox  Forms 


Draping  on  Fohms 


fall  to  the  floor.  Double  it  over  and  l>ring  it  up  doulile  to  the  waist  again.  Allow  the 
width  underneath  to  fall  to  the  floor  and  again  hring  it  up  double  to  the  waist  line, 
farther  back,  but  reaching  over  the  first  fold  at  the  waist  line.  Repeat  this  again  and  then 
make  a  double  back  sweep,  which  is  composed  of  two  plaits  pinned  at  the  center  of  the 
back.  In  this  particular  drape  enough  goods  must  be  allowed  to  cover  the  back  of  the 
figure.  This  can  be  done  very  easily  by  pinning  at  the  middle  of  the  waist  line  behind, 
and  then  spreading  the  goods  out,  pinning  at  the  shoulders  and  under  the  plaits  that  have 
been  brought  forward.  In  case  the  figure  is  dressed  to  face  the  front  of  a  window,  how- 
ever, there  need  be  no  covering  for  the  back  unless  there  are  mirrors,  and  even  in  the 
case  of  mirrors  the  figure  can  be  so  arranged  that  the  hack  will  be  invisible  from  the  front. 
In  making  the  sweeps  of  the  skirt,  the  upper  part  sliould  be  made  to  fit  smoothly 
about  the  hips  to  give  the  slender  figure  that  is  so  popular;  ihc  Ixtttom,  however,  should 
flare  out  moderately,  being  considerably  fuller  in  the  back  tiian  in  the  front.  The  fullness 
around  the  bottom  not  only  adds  the  graceful  Ijalancc  to   the  drape,   but   it  tends  to  avoid 


the  ready  made  appearance  that  was  spoken  of  in  the  beginning  of  this  article.  One  side 
of  the  figure  is  done.  Next  take  the  unused  end  of  the  silk  and  bring  it  around  to  the 
waist  line  of  the  right  side  of  the  figure.  Cover  that  side  just  as  was  done  on  the  other 
side.  The  right  sleeve  is  then  formed  and  the  whole  performance  is  repeated  just  as  has 
been  described  for  the  left  side. 

After  the  folds  in  the  sleeves  are  done,  the  front  should  be  straightened  out  care- 
fully. A  narrow  edging  of  lace  or  velvet  ribbon  is  fitted  into  each  fold  where  it  is  held 
in  place  by  an  occasional  pin  when  that  is  necessary.  The  velvet  ribbon  or  lace  should  be 
chosen  according  to  the  character  of  the  silk  used.  The  front  is  filled  in  with  any  appro- 
priate lace  and  a  ruching,  jabot  or  stock  is  added  to  finish  of¥  the  neck.  All  that  now 
remains  is  to  put  on  a  belt  which  is  made  from  a  wide  ribbon  in  a  harmonizing  color. 
It  should  not  be  too  dark,  preferably  of  a  medium  shade.  Before  the  belt  is  put  on  it 
may  be  necessary  to  smooth  out  some  of  the  folds  around  the  waist  in  order  lo  make  the 
belt  fit  smoothly. 

165 


Draping  on  Forms 


Draping  on  Forms 


DIRECTOIRE   DRAPE 

Where  the  Idea  Originated  and  How  It  Was  Introduced — How  to  Drape  a  Costume 
IN  THE  Sheath    Style 

NOT  in  many  years  has  any  vogue  created  such  a  commotion  in  the  world  of  fashion 
as  has  the  Directoire  style  and  the  so-called  sheath  gown.  When  first  shown  the 
sheath  gown  was  exhibited  on  living  models  with  much  pomp  and  circumstance  in 
large  stores  all  over  the  country.  Thousands  ,of  curious  women  have  shouldered  and  stepped 
on  each  other  to  catch  a  glimpse  of  it,  and,  having  seen  it,  have  become  enthusiastic  or 
scandalized,  according  to  their  turn  of  mind..  As  the  window  dresser  should  be  posted  on 
this  style  some  information  as  to  its  origin  and  development  may  prove  of  interest. 

To  begin  with  it  may  be  stated  that  the  terms  sheath  and  Directoire  are  in  no  sense 
synonymous,  although  they  are  pretty  generally  understood  to  be.  The  sheath  gown  is 
distinctly  a  French  creation.  It  made  its  entree  at  the  Longchamps  racing  meet  in  the 
spring  of  1907.  It  has  for  years  been  the  custom  to  introduce  the  new  styles  at  these  race 
meets.     The  leading  dressmakers  of  Paris  send  to  the  races  models  dressed  in  gowns  that 


Fl^-l 


are  designed  to  forecast  the  prevailing  fashions  for  the  coming  season.  Tlie  event  in  this 
day  has  grown  to  be  more  important  as  a  fashion  show  than  as  a  sporting  event.  Repre- 
sentatives of  all  the  great  Eliropean  and  many  American  stores  are  present,  eager  to  inform 
themselves  on  the  latest  fashion  tendencies.  And  it  is  a  wonderful  show— aside  from  the 
dressmaker's  models,  all  of  the  fashionables  of  Europe  are  present,  decked  out  in  the  very 
latest  gowns  and  finery. 

This  style  was  introduced  by  one  of  the  fashionable  dressmakers  of  Rue  de  la   Paix 

167 


Draping  on  Forms 


liy  sending  out  two  l>c;uitiful  models  wearing  sheath  gowns  made  in  the  Directoire  style. 
The  gowns  were  ma<lc  with  a  generous  opening  at  the  side,  through  which  could  be  seen 
a  lii)eral  expanse  of  ankle  encased  in  silk  tights.  To  say  that  the  open  sheath  created  a 
sensation  is  putting  it  mildly.     The  stir  that  was  raised  extended  throughout  the  world. 

The  dressmaker  who  designed  the  two  gowns  modeled  them  from  an  old  fashion  plate 
printed  in  France  in  1798  during  the  period  of  the  Directory  under  the  first  Republic — hence 
the  name  Directoire.  More  than  one  hundred  years  ago  the  same  style  was  in  vogue  in 
Paris.  Its  origin  was  in  ancient  Greece;  the  old  French  dressmakers  copied  the  style  from 
the  l)eautiful  clinging  draperies  worn  by  Athenian  women  almost  two  thousand  years  before. 
Thus  has  a  classical  style  been  brought  down  through  centuries  to  today. 

But  the  Parisian  dressmaker  who  sent  the  models  wearing  sheath  gowns  to  the  race 
track  at  Longchanips  made  a  most  serious  blunder  in  so  far  as  art  is  concerned.  The  sheath 
gown  was  never  intended  to  be  worn  on  the  street.  In  ancient  Greece  it  was  a  house  gown. 
In  France  during  the  Directory  it  was  worn  as  an  evening  gown — never  in  any  age  was  it 
worn  on  the  street,  nor  is  it  a  proper  style  for  street  wear. 

The  modern  sheath  gown  should  have  been  l)rought  out  as  an  evening  costume — the 
style  should  have  been  introduced  to  the  public  in  the  customary  way  of  introducing  new 
models  in  house  gowns  in  Paris — that  is  through  the  medium  of  the  stage.  Had  it  been 
presented  to  the  world  in  that  way  there  would  have  been  little  or  no  objection,  and  the 
sheath  would  have  been  adopted  to  a  much  greater  extent  than  it  ever  will  be  as  it  is. 

Nevertheless  the  principle  of  the  sheath  gown  and  the  Directoire  style  are  here  to  stay. 
They  are  not  the  result  of  a  sudden  whim  or  fancy,  but  are  due  rather  to  natural  evolution. 
For  years  fashion  tendencies  have  been  leading  slowly,  l)ut  none  the  less  surely,  in  this 
direction.  It  is  getting  back  to  the  beginning — to  the  true  art  that  lies  in  the  classic  folds 
and  draperies  of  the  old  Greeks.  The  styles  in  their  present  somewhat  radical  form  will 
change,  but  the  influence  of  this  fashion  will  be  seen  for  many  years. 

The  window  dresser  may  profitably  spend  his  time  in  studying  the  display  possibilities 
suggested  liy  tliis  style.  The  classical  lines  and  the  graceful  draping  effects  lend  themselves 
admirably  to  skillful  handling.  As  giving  an  idea  of  what  may  be  done,  a  simple  but  highly 
effective  drape  is  shown  in  the  sheath  style. 

The  drape  No.  .3  is  an  exceptionally  good  one  for  several  reasons.  In  the  lirst  place  it  is 
exceedingly  attracti\e  when  properly  done.  In  the  second  place  it  is  remarkably  easy  to 
accomplish.  It  is  in  fact  so  simple  that  even  ;in  inexperienced  beginner  can  make  this 
drape  satisfactorily  if  he  will  follow  the  directions  carefully  and  study  the  diagrams.  An- 
other good  feature  is  that  very  few  pins  are  used  and  the  goods  need  not  be  damaged  in 
the  least.     No  straining  or  stretching  is  necessary  to  get  the  right  effect. 

The  materials  needed  are  as  follows:  Two  dress  lengths  of  double  width,  soft  liberty 
silk,  abrnit  three  or  four  yards  of  lace  four  or  five  inches  wide,  about  four  yards  of  finest 
soft  chilton  or  vvr\)v  dv  chine,  a  y.ird  or  more  of  wide  gold  embroidery. 

The  drape  is  made  over  the  ordinary  costume  form.  The  new  style  "hipless"  pattern 
is  very  desirable,  if  it  is  available,  as  the  (Irai)r  is  speci.dly  designed  to  fit  over  that  kind  of 
a  form.     If  the  trinuner  li;is  no  "bipK-ss"  form,  lb,-  old  fashioned  type  will  do.     In  this  case, 

168 


Draping  on  Forms 


however,  it  is  better  to  use  a  34  size  and  pad  out  the  chest  about  two  inches.     This  gives 
a  more  shni  effect  to  the  hips  and  is  a  great  improvement  over  the  ordinary  36  form. 

This  is  a  decollete  drape,  so  the  first  thing  to  do  is  to  cover  the  upper  part  of  the  form 
smoothly  with  white  or  very  pale  pink  satinc.  Smooth  this  material  carefully  over  the 
shoulders,  around  the  neck  and  bust  and  pin  with  very  small  pins.  Tlic  satine  will  have 
to  be  cut  and  fitted  perfectly  to  the  form,  as  it  represents  the  skin.  The  entire  top  of  the 
form  should  be  covered  as  smoothly  as  possible  in  this  manner.  Now  take  a  strip  of  lace 
four  or  five  inches  wide  and  cover  the  shoulders  and  bust.  This  is  done  as  sliown  in 
Fig.  1.  Starting  at  a  on  the  right  side,  carry  the  lace  straight  up,  allowing  it  to  stand  out 
some  distance  over  the  point  of  the  shoulder.  The  lace  is  carried  some  distance  down  the 
back  and  then  brought  forward  again,  where  it  extends  to  b,  almost  down  to  the  waist  in 
front.  It  is  then  turned  back  forming  a  V,  and  carried  back  over  the  other  shoulder  and 
then  again  brought  forward  so  the  outer  edge  extends  out  over  the  point  o{  the  shoulder, 
bringing  the  end  down  in  front  and  pinning  at  c,  slightly  above  the  waist  line.  In  turning 
the  lace  as  at  point  b  and  in  the  back  care  should  be  used  to  keep  the  right  side  of  the  lace 
always  outside.  That,  however,  is  a  very  easy  matter.  When  the  lace  has  been  put  in 
place,  the  next  thing  is  to  proceed  with  the  silk. 

Unfold  the  goods  and  take  one  end  of  it.  Turn  the  end  under  several  inches.  Raise 
the  end  as  shown  in  Fig.  2.  The  front  selvage  is  turned  under  five  or  six  inches  and  a  pin 
is  placed  in  the  corner  at  point  d.  The  other  corner  is  carried  around  under  the  arm,  drawing  the 
goods  tight,  and  a  pin  is  placed  in  the  back  at  point  c.  The  silk  is  drawn  in  to  the 
waist  at  the  back  and  another  pin  is  placed  down  about  the  waist  line.  This  pin  should 
draw  the  goods  in  so  it  falls  properly  over  the  hip.  Do  not  try  to  smooth  out  the  wrinkles 
at  the  waist,  as  they  are  part  of  the  drape.  These  wrinkles  are  characteristic  of  the  French 
gowns  which  this  drape  is  intended  to  suggest.  They  add  much  to  the  general  effect.  After 
the  waist  has  been  fitted  as  in  Fig.  2  the  remainder  of  the  goods  is  unfolded  and  carried 
around  back  of  the  figure  to  the  opposite  side,  being  careful  not  to  twist  the  material. 

Now  take  the  other  end  of  the  goods ;  fold  over  the  selvage  at  the  right  side  and  turn 
under  the  cut  end  in  the  same  manner  as  was  done  at  the  other  end  of  the  pattern.  Lift 
the  goods  straight  up  and  pin  the  right  hand  corner  about  three  inches  from  the  middle 
of  the  back  as  indicated  in  point  g  in  Fig.  3.  Bring  the  folded  top  edge  straight  aroun<l  to 
the  back  on  the  opposite  side  and  place  a  pin  at  point  F,  which  is  about  the  middle  of  the 
hack.  The  approximate  position  of  point  g  is  shown  more  clearly  in  Fig.  4  which  is  a  back 
view.  Having  pinned  the  goods  at  points  f  and  g,  the  surplus  on  both  sides  is  drawn  in 
at  the  back  and  pinned  down  about  the  waist  line.  The  exact  location  of  these  pins  are 
not  indicated  as  they  will  vary  to  a  certain  extent  with  goods  of  different  widths  and  forms 
of  different  sizes.  In  placing  these  pins  the  goods  should  not  be  drawn  tightly  enough  to 
strain  it.  Draw  it  in  just  enough  to  make  the  silk  fit  snugly  over  the  hips  and  let  the 
wrinkles  take  care  of  themselves.  They  will  fall  naturally  in  the  right  places  and  can  be 
slightly  rearranged  after  the  drape  is  finished. 

The  drape  is  now  in  the  stage  shown  in  Fig.  3,  with  a  lot  of  surplus  goods  on  the  floor 
at  the  back.     Pick  up  this  goods  by  the  crease  in  the   middle  and   carry  up  to  the  middle 


Draping  on  Forms 


of  the  back  and  pin  it  there,  as  shown  in  Fig.  4,  forming  the  front  folds  and  the  wide  pleat 
in  the  middle  of  the  back.  The  crease  of  the  goods  should  extend  straight  down  the 
middle  of  the  back  fold.  Then  form  the  folds  on  the  back  side  of  the  drape.  Be  careful  to 
get  the  folds  smooth  and  even  although  they  need  not  appear  exactly  as  they  do  in  Fig.  4 
as  this  sketch  is  merely  an  outline  to  show  the  general  plan.  A  much  better  idea  can  be 
had  from  the  large  drawing  and  the  back  view  shown  in  the  full  page  illustration. 

The  next  step  is  to  apply  the  remainder  of  the  trimmings.  Take  a  width  of  crcpc  dc 
chine  or  soft  chiffon  about  3%  yards  long ;  gather  it  together  tightly  and  throw  it  over  the 
shoulders  pinning  it  at  points  h  and  i  on  each  side  of  the  back  as  indicated  in  Fig.  5.  The 
ends  which  hang  down  in  front  should  be  about  as  shown  in  the  full  page  illustration.  One 
end  reaches  just  to  the  floor — the  other  is  some  8  or  10  inches  shorter.  The  crepe  de  chine 
is  gathered  rather  closely  and  brought  down  over  the  chest  and  pinned  just  below  the  top 
line  of  the  silk.  The  ends  are  gathered  tightly  and  fall  straight  down  in  front.  The  lower 
ends  are  finished  off  with  appropriate  tassels  wliich  should  be  of  gold  or  silver  (to  corre- 
spond with  the  belt),  with  pointed  ends. 

The  finishing  touch  is  a  broad  girdle  made  of  heavy  gold  or  silver  embroidery.  It  is 
started  from  the  middle  of  the  back  and  carried  clear  around  the  bust  to  the  starting 
point  where  it  is  pinned.  The  drape  is  now  finished  with  the  exception  of  a  hosiery  form 
which  should  be  fitted  with  silk  hose  and  an  attractive  slipper.  It  is  placed  so  the  foot 
and  a  bit  of  the  ankle  peep  out  of  the  opening  in  front.  Should  the  trimmer  not  care  to  use 
a  hosiery  form,  the  opening  should  be  arranged  so  the  base  of  the  stand  cannot  be  seen. 
The  vent  may  be  filled  with  a  panel  of  gold  or  silver  cloth,  allover  lace,  etc. 

After  the  foregoing  directions  have  been  carried  out  the  trimmer  should  go  over  his 
drape  careful^',  straightening  out  the  folds  and  adding  the  finishing  touches.  Draw  the 
folds  close  to  the  figure  in  front  and  at  the  sides  in  order  to  give  the  slim,  narrow  hipped 
effect.  Turn  under  the  ends  of  the  folds  and  smooth  them  out  in  an  orderly  way.  It  is 
these  little  finishing  touches  that  give  the  drape  its  character. 

In  making  this  drape  a  striped  pattern  is  the  best  to  use  as  all  of  the  stripes  run  up 
and  down.  The  effect  of  the  stripes  in  the  (rain  arc  especially  pleasing  as  they  all  run 
from  a  point  at  the  top,  spreading  out  like  the  stick  of  a  fan  as  the  drape  widens  toward 
the  floor.  As  was  stated  in  the  beginning,  this  is  a  very  simple  drape  and  one  which  anyone 
should  be  able  to  make  without  any  trouble. 

The  finishing  off  of  the  upper  part  of  the  form  can  be  done  in  many  ways  that  will 
suggest  themselves  to  the  decorator.  A  late  fashion  plate  should  afford  many  suggestions 
along  this  line.  The  writer  would  urge,  however,  that  some  strong,  simple  design,  such  as 
the  one  shown  here,  be  used.  It  is  much  easier  to  arrange  and  the  effect  is  likely  to  prove 
more  satisfactory  than  if  a  more  complicated  design  be  attempted. 

Since  the  introduction  of  the  draping  form,  some  years  ago,  there  has  been  hardly  any 
other  method  used  for  the  showing  of  dress  goods.  This  is  because  you  can  introduce 
fashion  value  in  the  drapes.    That  is  what  is  introduced  in  the  drapes  shown  herewith. 

Drape  4  shows  the  full  form,  posed  just  as  you  see  it,  giving  a  three-quarters'  view. 


170 


Draping  on  Forms 


The  window  trimmer  should  pose  his  forms  the  same  as  a  photographer,  in  order  to  get 
the  very  best  possible  view  and  artistic  effect.  The  window  should  be  viewed  as  a  picture 
and  the  forms  placed  therein  in  such  a  way  that  the  composition  of  the  completed  picture  is 
perfect. 

A  good  plan  is  to  experiment  in  your  workroom  first  and  get  your  drapes  just  to 
suit  you. 

The  sweep  of  the  skirt  in  this  drape  comes  from  the  back,  and  is  brought  to  one  side 
and  to  the  front.  You  will  notice  the  pointed  effect  at  the  top  of  the  bust  line  of  the  form. 
This  is  produced  by  the  addition  of  a  pointed  piece  of  heavy  cardboard.  This  is  a  good 
idea  for  the  finish  of  the  top  of  a  form. 

The  top  of  the  form  is  finished  in  three  strands  of  narrow  dark  velvet  ribbon.  For 
instance,  if  you  have  a  drape  of  pale  Copenhagen  blue,  use  dark  blue  velvet  ribbons. 

A  little  to  the  right  of  the  front  of  form  is  gathered  a  large  cluster  ,of  ribbon  loops,  in 
varying  sizes,  as  shown  in  the  drawing,  one  of  the  loops  being  long  enough  to  drape  on 
the  floor.  Below  the  waist  line  in  the  front  of  the  form,  you  will  notice  the  wrinkles,  as 
seen  in  certain  of  the  new  styles.  These  little  up-to-date  features  are  things  that  make 
for  the  success  of  your  work. 

The  drape  No.  5  is  very  simple  and  rich.  It  is  especially  suited  to  high  grade  material. 
Only  one  pin  is  used  in  the  entire  drape,  thus  giving  less  chance  to  damage  a  fine  fabric. 

The  beauty  of  this  drape  lies  in  its  simplicity,  and  in  the  unusual  pose,  bringing  out 
the  long  sweeping  lines  of  the  long  train  in  the  back.  This  drape  shows  the  back  view 
of  a  full  form.  The  folds  ali  start  about  five  inches  above  the  waist  line,  in  order  to 
give  the  Empire  effect. 

Use  a  soft  material  in  some  plain  coloring,  minus  a  pattern  or  figure.  The  finish  at 
the  top.  or  waist,  is  simply  the  circling  about  the  top  of  the  form  of  the  necessary  amount 
of  very  wide  ribbon.  The  prettiest  effect  is  produced  when  various  shades  of  one  color 
ribbon  are  used.    The  darkest  shade  at  the  top. 

After  this  ribbon  jacket  is  made,  drop  the  ends  of  several  of  the  ribbons  to  tlie  floor 
as  streamers.     Either  satin  or  velvet  ribbon  can  be  used. 

There  is  quite  a  decided  advantage  in  using  these  full  forms,  for  they  will  be  such  an 
absolute  change  from  the  half  form  that  has  been  used,  that  your  window  will,  because  of 
the  change,  attract  much  attention.  Of  course  these  forms  should  be  posed  so  that  you 
get  a  full  or  three-quarter  view  of  the  front  or  back.  If  you  sliow  a  side  view,  you  might 
as  well  use  only  the  half  form. 

It  is  a  good  idea  to  try  and  be  the  first  firm  to  spring  the  new  forms  and  new  drapes — 
thus  being  responsible  for  a  scoop  in  the  window  trimming  circles  of  your  town,  and  dem- 
onstrating the  fact  that  your  store  is  the  most  progressive. 


171 


Dhapinc  on  Forms 


The  clianging  styles  should  be  mirrored  in  the  windows  as  soon  as  possible.  It  is 
the  trimmer's  duty  to  show  the  newest  styles,  and  to  show  them  in  such  a  manner 
that  the  style  value  is  brought  out  prominently.  The  windows  should  be  veritable  fashion 
plates,    showing   the    style    tendencies    in    advance    of   the    season,    somewhat    on    the   same 

order  as  regular  fashion  journals. 

Tlie  up-to-date  trimmer  pays  as 
much  attention  to  the  changing  styles 
as  he  does  to  bringing  out  clever 
background  designs.  You  can  read- 
^'^'^  ily  understand  how  easily  spoiled  a 
■^  beautiful  background  would  be  if 
passe  styles  were  shown  in  the  win- 
dows. 

In  drapes  4  and  5  we  show  styles 
that  embody  the  Empire  and  Prin- 
cess modes,  influenced  somewhat  by 
the  Greek  influence.  The  fashion 
lines  in  these  styles  are  long  and 
clinging,  not  showing  much  of  the 
waist  line  or  hips.  This  effect  is  pro- 
duced by  starting  the  waist  line,  es- 
pecially in  the  back,  four  or  five 
inches  above  the  regular  waist  line, 
and  letting  the  goods  drop  loosely, 
just  touching  the  hips  and  then  drop- 
ping to  the  floor  in  long,  graceful 
folds. 

The  gowns  of  this  style  in  some 

cases  are   several   inches  longer  than 

measure.       This     extra 

s    on    the    floor    and    in 

s  the  skirt  closelv  about 


Draping  on  Forms 


the  Hmlis.  and  in  repose 
falls  in  Ijrokon  folds  on 
the  floor.  This  is  a 
pretty  idea  to  bring  out 
in  your  draping  of  the 
form,  and  is  shown  in 
our  illustrations. 

Certain  styles  are 
hcst  produced  in  certain 
materials.  For  instance, 
the  styles  of  these  drapes 
call  for  soft  materials 
that  will  hang  in  long, 
soft  folds  and  give  pretty 
graceful  lines.  Such 
goods  as  rough  finish 
and  liberty  silks,  messa- 
lines  and  f.mlards  are 
very  good. 

The  good  trimmer 
knows  just  as  soon  as  he 
touches  a  piece  of  goods 
how  it  should  be  draped 
to  bring  out  its  individ- 
ual beauty  and  charac- 
teristics. He  would  not 
think  of  taking  a  heavy 
taffeta  and  try  to  pro- 
duce a  tight-fitting 
princess    drape,    or    pro- 


Drape   5 

duce   the   long,   soft    folds  of  a   Grecian 
drape  on  a  form. 

Soft  goods  show  off  to  the  best 
advantage  on  the  draping  forms.  In 
fact  there  is  no  better  way  of  showing 
any  goods.  Soft  goods  show  off  espe- 
cially well  because  they  need  some  sort 
of  foundation. 
173 


Draping  on  Forms 


The  introduction  of  the  Grecian  styles  in  women's  wearing  apparel  several  seasons 
ago  gave  the  first  decided  impulse  to  the  draping  of  the  full  form  in  window  display. 
These  and  the  Directoire  styles  immediately  following,  lent  themselves  admirably  to 
this  purpose.  The  next  style  that  the  trimmer  had  to  contend  with  was  the  hobble 
skirt  idea  that  did  not  possess  as  many  advantages  from  a  draping  standpoint  as  did 
these  others.  The  close  fitting  skirt  gathered  in  with  a  band  just  above  the  ankle  does 
not  permit  of  the  long  sweeping  folds  which  every  trimmer  knows  are  necessary  for  show- 
ing yard  goods  to  the  best  advantage. 

Our  drape  No.  G  shows  a  very  plain  and  simple  adaptation  of  tlie  bobble  skirt  idea 
lo  a  full  form  drape. 

iMrst,  of  course,  the  bust  of  the  form  must  be  covered  with  some  white  material,  and 
idain   wliite  tissue   paper   serves  excellently  for  this.     The  top  of  the  form  is  then  covered 

with  a  width  of  allover  lace,  the  ends  of  which  are 
wrought  out  at  the  sides  to  cover  the  arms.  In  case  a 
headless  form  is  used,  dummy  arms  should  be  made  of 
flexible  cardboard,  rolled  into  a  cone  and  bent  at  the 
elbow.  It  will  be  necessary  to  cut  out  a  segment  of  the 
cardboard  at  the  elbow  in  order  to  do  this,  but  a  little 
experimenting  will  soon  give  you  the  right  pattern. 

Parallel  rows  of  wide  ribbon  are  next  placed  across 
tlic  front  of  the  bust,  and  the  same  ribbon  used  to 
trim  the  cuffs  and  later  on  to  form  the  belt.  To  put 
on  the  cuffs  without  cutting  the  ribbon  it  will  be  neces- 
sary to  bring  the  ends  of  the  ribbon  down  through  the 
inside  of  the  paper  arms. 

For  the  drape  a  soft  piece  of  silk,  such  as  foulard 
or  pongee,  will  be  found  best.  Start  tlie  end  of  the 
goods  at  the  waist  line  witii  the  belt,  and  let  the  goods 
fall  perfectly  straight  down  in  front  to  the  floor.  Fit 
this  first  width  tightly  on  the  form,  then  fold  under  the 
liottom  edge,  carry  the  goods  back  and  out  at  one 
side.  Tlien  bring  this  width  up  over  the  shoulder, 
turning  the  front  selvage  under  and  pinning,  first  at 
the  waist  line  and  tlien  at  the  top  of  the  shoulder. 
Tlie  goods  are  then  fitted  tightly  around  the  waist  line 
and  the  outer  selvage  folded  under  to  give  a  finished 

effect  at  the  shoulder  as  it  passes  around 

the  sleeve. 

The  other  end  of  the  goods  is  then 
brought  up  over  the  shoulder  from  the 
back  and  down  to  the  floor  in  front,  and 
the  silk  fitted  to  the  form  same  as  on 
the  opposite  side.  The  surplus  goods 
in  the  Ijack  can  now  be  laid  in  wide  pleats  and  fitted  smoothly  to  give  a  finished  effect. 
The  two  outer  folds  of  the  silk  are  now  caught  up  and  draped  back  on  each  side  and  pinned 
about  fifteen  inches  from  the  floor.  A  wide  satin  ribbon  is  used  to  form  the  "hobble" 
band,  the  end  being  formed  in  a  large  rosette,  then  carried  tightly  around  the  back  of  the 
form  to  the  front  on  the  other  side  and  another  rosette  formed. 

174 


Drape   6 


Dhapinc.  on  Forms 


When  this  is  dune  very  carefully  draw  up  a  little  surplus  goods  frorn  underneath  the 
hobble  band  to  form  a  fullness  above,  as  indicated  in  the  drawing.  Then  whatever  surplus 
goods  there  may  be  left  in  the  back  can  lie  brought  out  on  the  floor  to  one  side  in  two  or 
three  folds,  forming  the  train. 

In  Drape  No.  7  we  show  a  hobble  drape  on  the  form  with  the  cut  out  neck.  Tliis  form 
is  in  the  very  slender  shape  with  the  narrowness  below  the  knees  and  is  especially  adapted 
to  this  style  termed  "Hobble  Skirt." 

The  drape  as  shown  in  the  drawing  is  of  a  piece  of  polka-dot  satin,  draped  smoothly 
over  the  upper  part  of  the  form  and  allowed  to  drape  in  natural  fullness  to  the  floor. 

To  get  the  hobble  efifect  it  will  be  necessary  to  gather  a  wide  band  of  satin  about  the 
form  below  the  knees.     Tliis  band  should  be  the  same  color  as  the  polka-dots  in  the  silk. 

The  front  of  the  upper  part  of  the  drape  is  finished  off  w'ith  a  bow  of  ribbon  with  a 
length  of  it  suspended  in  pendant  form.  Tliis  ribbon  is  l)rought  around  from  the  back 
of  the  form. 


Drape  7 


175 


Dhaimng  on   Forms 


1^ 


'/r-. 


Drape  8,  Fig.  1 

are  placed  in  the  back  at  the 
neck,  about  the  middle  of  the 
back,  at  the  waist  line  and  the 
last  one  ratlicr  low  down  on 
the  hips.  The  loose  end  of  the 
goods  is  left  at  the  bottom 
and  then  brought  up  to  the 
left  shoulder  of  the  figure 
(right  side  of  picture)  as 
shown   in   I'ig.  2. 

Fig.  3  shows  the  next 
move.  The  surplus  goods  are 
brought  across  from  the  left 
shoulder  U>  the  riglu  one  (left 
side  of  picture)  a  half  turn 
being  given  to  the  material  at 
the  middle  of  the  bust.     Form 


The  drape  No.  8  shown 
here  is  a  good  one.  It  was 
not  intended  to  show  a  fin- 
ished gown.  The  purpose  was 
to  demonstrate  tw^o  features 
that  are  important  in  the 
selling  of  dress  materiaLs — 
style,  and  the  goods  by  the 
yard.  Showing  the  goods  at- 
tractively by  the  yard  is  con- 
sidered from  a  merchandising 
standpoint  as  more  important 
than  the  indicating  of  style. 
This  form  of  drape  will  be 
found  to  be  easily  made  if  one 
will  follow  closely  tlie  little 
sketches. 

Fig.  1  shows  the  drape 
started.  The  beginning  is  made 
witli  the  end  of  the  goods  at 
the  neck.  The  material  is 
brought  down  tlie  front  of  the 
form  and  fitted  around  it.  Pins 


17(3 


Drape   8,  Fig.  2 


Draping  on  Forms 


the  short  sleeve  from  the  right 
shoulder  and  bring  the  goods 
back  to  the  point  where  the 
half  turn  was  made  about  the 
middle  of  the  bust.  Then  take 
the  goods  again  at  the  selvage 
and  allow  the  full  width  to  fall 
to  the  floor  in  natural  folds. 
With  a  little  straightening  up 
and  fitting  the  principal  part  of 
the  drape  is  now  finished.  All 
that  remains  is  to  apply  the 
trimming,  which  is  done  as 
shown  in  the  completed  drape. 
All  of  this  may  sound  a 
bit  complicated  to  the  begin- 
ner, but  with  his  goods  and 
the  draping  form  before  him 
it  will  be  found  an  easy  mat- 
ter to  follow  the  sketches.     In 


Drape  8,  Fig.  3 


making  any  drape  handle 
your  goods  as  carefully  as 
you  know  how.  Fit  the 
material  as  you  go  along 
and  do  not  try  to  go  too 
fast  at  first.  Use  pins  care- 
fully and  in  such  a  manner 
that  the  goods  will  not  be 
stretched  or  damaged  in 
any  way.  You  will  later  be 
entrusted  with  costly  mate- 
rials of  delicate  texture  and 
it  is  well  to  get  the  habit 
of  being  careful  in  the  be- 
ginning. 


^^^^Sh^^^ 


177 


Drape  8  Completed 


Dhai'inc.  ox   Forms 


I'^wTV  beginner  in  window  trininiiiii;  slimild  yet  the  riylit  training  at  tlie  start,  and 
tliis  is  possible  through  the  very  successful  Koestcr  School  in  Chicago.  In  any  other 
profession  it  is  necessary  to  study  constantly  for  years  and  at  a  large  expense  before 
one  begins  to  think  of  making  money.  P'irst  learn  the  right  principles,  and  learn  them 
thoroughly;  then  you  have  a  foundation  on  which  to  build.  Without  this  foundation  no 
man  can  make  a  real  success  as  a  window  dresser. 

The  draping  of  dress  goods  has  come  to  its  perfec- 
tion— it  may  l)e  varied  in  form,  but  it  cannot  be  greatly 
vcd.      'I'lie    present    day    half    and    full    forms    are 
nply    variations    of    what    have    been    used    for    fifteen 


V. 


f 


Drape 


years — we  arc  only  changing  them   to    ^ 

meet  the  demands  of  modern  modes.  >-i.  w. 

And   of  course,    fashion  is   helping  us»- —  Drape  10 

to  do  our  work  gracefully.  No  matter  what  the  style  may  be,  the  capable  window  dresser 
will  always  find  some  way  of  presenting  it  attractively  to  the  public.  Should  the  "hoop- 
skirt"  of  sixty  years  ago  return  to  favor,  we  would  get  busy  and  find  some  way  to 
drape  it  attractively. 

The  drapes  that  are  illustrated  here  are  all  such  as  may  easily  l)e  made,  l^rapc  0  shows 
a  chic  tailor-made  suit  for  morning  wear.  This  is  a  comfortable  looking  garment  with  a 
loose  fitting  blouse.  The  sketch  shows  what  can  be  done  with  a  combination  of  materials 
of  different  kinds.  For  example,  it  might  1,'e  draped  throughout  witli  plain  or  striped  ma- 
terial or  the  skirt  could  be  made  of  striped  material  with  the  blouse  plain.  It  would  be 
iiif^bly  cfTective  in  black  and  white,  brown  and  green,  or  grey  and  red. 

The  drape  shown  in  the  picture  was  made  on  a  half  form  l)ut  couhl  also  be  made  on  a 

178 


Draping  on  Forms 


lull  form.  'J'Ik-  skirt  was  made  of  striped  material  and  the  loose  ends  were  arranged  on 
the  floor.  The  band  around  the  bottom  of  the  skirt  was  made  of  the  same  material  as  the 
jacket.  It  would  look  equally  attractive  if  made  of  satin  or  a  wide  plain  braid  in  the  same 
color  as  the  jacket.  Any  button  that  will  harmonize  with  the  material  may  be  used  to  com- 
plete the  skirt. 

The  making  of  the  jacket  is  slightly  m,ore  complicated  than  the  making  of  the  skirt. 
However,  it  can  be  easily  accomplished  by  a  little  careful  manipulation.  Take  full  width 
goods  and  open,  turning  the  end  over  to  make  the  rever.  Drape  the  goods  around  the 
form  as  indicated  in  the  sketch ;  then  bring  forward  that  which  is  to  be  used  in  forming 
the  sleeve.     The  remainder  of  the  material  is  pinned  in  the  hollow  of  the  back  of  the  form. 


Drape  11 
The  rever  and  cuff  are  made  of  any  material  that  may  have  been  selected,  and  the  waist 
effect  is  accomplished  by  using  a  remnant  of  lace  allover  or  any  trimming  that  may  be  con- 
venient. The  belt  and  buttons  are  applied  last.  In  this,  as  well  as  any  other  drape,  it  is 
probable  that  some  pins  will  show  here  and  there.  Let  them  show  as  they  will  indicate  that 
this  drape  is  pinned  together  and  not  tailored.  In  this  connection  we  wish  to  call  attention 
to  a  pretty  misapprehension  regarding  the  draping  of  goods  to  indicate  tailored  suits.  Many 
people  think  that  a  tailor-made  mode!  should  not  be  draped  as  shown  in  Drape  9,  with  a 
surplus  of  goods  around  the  bottom  of  the  skirt — they  contend  that  the  skirt  on  the  form 
should  appear  as  nearly  as  possible  like  it  would  when  worn.  That,  of  course,  is  a  mistake. 
It  is  not  the  purpose  of  draping  to  do  more  than  simply  suggest  the  style.  We  do  not  drape 
the  goods  to  sell  the  suits,  but  to  sell  the  material.  A  skirt  could  be  draped  as  though  cut 
ofif  squarely  at  the  bottom,  but  the  effect  would  be  far  less  satisfactory  than  when  draped  in 

179 


Draping  on  Forms 


it   make  your   drape   of   this   class   too   much   of  a 


a  manner  similar  to  that  shown.     J  )> 
tailor-made  affair. 

Drape  10  shows  a  charming  afternoon  gown  which  when  made  up  could  also  be  used 
for  evening  wear.  It  can  be  made  of  any  seasonable  materials.  Either  a  fancy  voile  (wool 
or  silk)  or  silk  such  as  bordered  foulard,  plain  marquisette  or  meteor  satin.  There  are 
so  many  color  combinations  that  might  be  used  in  making  this  costume  that  we  leave  it  to 
the  trimmer  to  select  the  goods,  trimmings  and  colors  that  may  seem  to  him  the  best. 
Mjerely  as  a   suggestion,  the   lower  part   of  the   skirt  would   look  well   made   from  black 


Drape   12 
panne  velvet  or  satin,  or  as  an  overdrape  on  hunter's  green  satin  meteor.     The  belt  effect 
may   match   the  material   used    for   the   lower   part   of   the   skirt.     Gold   trimming   or   lace 
band  trimming  could  be  used  on  the  skirt  and  waist. 

This  drape  is  very  easy  to  make  without  cutting.  First  make  the  yoke  eft'ect  from  any 
remnant  of  lace  or  fancy  allover  or  other  trimming.  Then  form  the  bottom  of  the  skirt 
from  some  dark  plain  material.  When  this  has  been  done  start  on  the  waist.  Begin  at 
the  right  hand  side  about  the  waist  line  and  carry  the  material  around  across  the  back 
and  to  the  front  again.  This  is  a  simple  operation.  Then  carry  the  goods  down  and 
around  the  lower  part  of  the  form  on  the  bias.  Tuck  in  the  goods  at  the  sides  of  the 
upper  part  to  form  the  sleeves  and  apply  the  trimming. 

Drape  11  shows  a  pretty  gown  made  from  the  lace  and  velvet.  It  is  a  drape  that  is 
remarkably  easy  to  make  and  would  be  extremely  handsome  in  black  lace  over  either  white 
satin  meteor  or  velvet.  Tlie  skirt  or  lower  drape  can  be  made  of  black  lace  underlined 
with  white.  This  part  of  the  drape  is  made  first.  Then  the  overdrape  is  made  (in  much 
the  same  manner  as  in  Drape   10)    from  plain  black  satin  meteor  or  panne  velvet.     The 

180 


Draping  on  Forms 


only  difference  between  this  overdrapc  and  Drape  10  is  that  in  this  one,  after  forming 
the  waist,  the  material  is  brought  loosely  straight  down  in  front  and  back  (instead  of  on 
the  bias).  It  is  drawn  to  one  side  and  fastened  as  shown  in  the  sketch.  The  lace  trim- 
mings are  added  around  the  shoulders  and  sleeves.  Large  jeweled  buttons  of  rhinestones 
or  pearls  are  to  be  used  across  the  bust  and  at  other  points  on  the  drape.  The  waist 
line  of  this  gown  should  be  arranged  to  suggest  the  Empire  style.  Through  the  opening  of 
the  overdrape  may  be  seen  the  lace  underdrape.  At  the  lower  end  of  the  opening  the 
goods  are  drawn  together  ard  a  small  bunch  of  flowers  is  fastened  at  this  point. 


ill 


^A. 


'i\\%/^^ 


Drape  12  is  done  in  a  combination  of  royal  blue  chiffon  velvet  broche  with  a  lighter 
shading  of  panne  velvet.  The  velvet  was  used  to  form  the  underdrape  and  an  end  of  the 
same  piece  was  carried  up  to  form  the  broad  rever  which  has  been  so  much  in  evidence. 
The  bodice,  or  yoke  rather,  was  made  of  gold  cloth.  Rhinestone  buttons  and  gold  lace 
were  used  to  trim  the  sleeves  and  to  finish  off  the  lower  edge  of  the  underskirt.  This 
makes  a  remarkably  effective  drape  and  the  wide  rever  and  loose  treatment  at  the  waist 
conform  to  the  present  fashion.  The  loose  end  of  the  goods  was  loosely  tied  in  a  large 
knot  which  may  be  seen  on  the  floor  at  the  right. 

181 


Draping  on  Forms 


In  Drapes  13,  14  and  15  there  will  be  found  nothing  complicated  or  difficult.  The 
average  trimmer  will  find  little  difficulty  in  duplicating  them.  Drape  13  was  pinned  and 
draped  entirely  with  embroideries  consisting  of  flouncings  and  edgings  with  an  underlining 
of  light  blue.  The  underdrape  of  the  dress  was  light  blue  peau  dc  soie  trimmed  with 
black  velvet  ribbon.  The  yoke  and  sleeves  were  also  of  edging  with  light  blue  and  Irish 
crochet  fringe,  trimmed  with  black  velvet  ribbon. 

Drape  14  illustrates  "rear  view"  of  the  form.  This  is  an  entirely  new  drape  to  many 
trimmers.  It  shows  the  pannier  or  back  train  made  of  satin  and  panne  velvet.  This  form 
was  draped  with  green  satin  chiffon  edged  with  fringe.  The  pannier  and  belt  were  of  black 
satin  meteor,  trimmed  with  metal  lace  edging.  The  buttons  showing  at  the  back 
of  the  waist  line  on  the  pannier  were  of  rhinestone.  One  dress  length  of  five  and  one-half 
yards  was  used  in  making  the  drape. 

Drape  15  represents  a  polo  coat  drape  made  of  the  material  so  much  in  vogue  for  this 
style.  The  figure  was  draped  with  five  yards  of  double  faced  cloaking  of  plain  tan  on  one 
side  with  a  tan  and  lavender  backing.  The  reverse  or  plaid  side  of  the  material  was  turned 
over  on  the  rever  and  sleeve  as  shown  in  this  fashion.     Golden  and  purple  buttons  were  used. 


VA 


Drapo   11 


DHAI'lNd    ON    FOHMS 


For  Drape   No.   16  a  standard  suit  form   is  used,  although  it  can  be  made  on  a  wax 
figure,  or  even   a   "live  model"   just   as  well.      The   drape   is   to   suggest   a   tailored   effect 
in  a  dress,  and  about  a  seven-yard  length 
is   required. 

First  cover  the  top  of  the  form  with 
white  tissue  paper  and  make  a  collar  of  the 
tissue  around  the  neck.  Fit  a  band  of  wide 
lace  across  the  front,  finishing  the  top  edge 
with  a  band   of  velvet  ribbon. 

Start  one  end  of  the  goods  at  the 
shoulder,  keeping  the  goods  in  the  double 
fold.  Pin  folded  edge  at  the  waist  line, 
part  way  around  the  form  and  fold  back 
this  edge  over  the  shoulder  forming  a 
rever  collar  effect  (Fig.  2).  Next  draw 
the  goods  around  the  waist  line  to  the 
back,  but  keeping  the  line  of  the  skirt 
so  that  it  hangs  straight  down  for  the 
skirt.  At  the  base  of  the  form  open 
out  a  short  length  of  the  goods  and  bring 
it  up  around  the  back  forming  the  folds 
that  come  around  across  the  front  (Fig. 
3).  Then  carry  the  other  end  up  over 
the  other  shoulder  letting  the  end  reach 
down  to  the  floor  in  front.  In  case  the 
full  piece  is  used,  the  bolt  comes  here, 
and  should  be  carried  underneath  the 
form  and  hidden  in  the  back  (Fig.  4). 
Fit  the  goods  over  this  side  of  the  form 
same  as  on  the  other.  For  trimming  slip 
a  narrow  band  ,of  coral  velvet  ribbon 
underneath  the  edges  of  the  collar.  Pin 
silk  fringe  trimming  along  the  edges  of  ^**^ 
the  sleeve  and  diagonally  across  the  front.  ■- 
Then  add  the  buttons. 

183  Drape   16 


irtesy  .Arlington  Mills. 


Draping  on  Forms 


Drape  17  is  one  of  the  most 
attractive  drapes  designed  at  the 
Koester  School  and  shows  a 
clever  combination  of  allover  lace 
and  silk. 

The  silk  is  first  draped  over 
the  form  and  then  allowed  to 
form  the  wide  drapes  over  the 
shoulders  and  one  of  the  pieces  is 
continued  on  down  the  back  of 
the  form  and  then  spread  out  into 
a  train. 

The  allover  lace  is  used  to 
cover  these  shoulder  pieces  and 
continues  down  the  train  until  it 
is  completely  hidden  and  stopped 
where  the  train  is  narrowed  at 
the  floor  line. 

These  drapes  executed  on 
the  back  of  the  form  are  very  in- 
teresting and  because  they  are 
not  so  common,  you  will  find 
them  probably  more  attractive. 

Drape  No.  18  shows  an  orig- 
inal drape  designed  by  a  Koester 
School  graduate  and  used  by  him 
in  the  windows  of  the  store  in 
which  he  worked  when  he  left 
the  school. 

This     drape     was     patterned 


Drape  17 


after  one  of  the  latest  Paris  styles  and  shows  how,  with  the 
Koester  method  of  draping,  the  window  trimmer  can  design 
drapes  after  the  very  newest   fashions.     The  goods  are  not 
cut  or  nuitilatcd   in  any  way.     Two  tones  of  the  same  goods 
were   used    in   this   drape.     The   darker 
color  was  used  for  the  underskirt  while 
the  lighter  goods  was  used  for  the  waist 
and  overdrape.     Allover  lace   was  used 
for  the  neck,  yoke  and  sleeves.    A  hand- 
some   cluster   of    artificial    flowers    was 
used  at  one  side  of  the  waist. 

Drape   No.    19   is  a  purely  convcn 

181 


Drape   If 


Draping  on  Forms 


tional  treatment  of  a  full  form,  suggesting  the  tunic  idea  across  the  front  which  falls  away 
in  cascades  to  the  sides,  ending  in  the  broad  sweeps  out  on  the  floor,  same  as  is  generally 
used  in  half  shell  form  drapes. 

In  Drape  No.  20  we  have  used  one  of  the  best  types  of  full  figure  form  that  can  be  had. 
Tlic  hips  are  very  narrow,  as  is  also  the  entire  lower  part  of  the  form.    This  gives  a  chance 


Drape  20 

to  get  the  narrow  effect  at  the  bottom  of  the  dress  which  prevails  in  most  panier  styles. 
This  shows  a  pleasing  arrangement  in  the  crosswise  draping  of  the  border  across  the  front 
of  the  form  and  out  in  the  long  train  in  the  back.  A  three-yard  length  of  allover  lace  will 
be  required  for  the  underskirt  drapery  and  the  surplice  treatment  over  the  shoulders. 

Notice  the  use  of  artificial  flowers  at  the  waist.  Bouquets  of  this  kind  are  very  popular 
just  now  and  can  be  taken  advantage  of  by  all  trimmers  to  add  a  new  touch  to  all 
their  drapes. 

185 


Drai'inc.  on  Fohms 


Tlic  two  drapes  .shown  herewith,  are  made  un  a  new  draping  furni  illustrated  below. 
The  special  features  of  this  form  are  the  short  papier-mache  arms  and  the  shaped  effect 
bringing  out  the  contour  of  the  form  around  the  knees.  This  latter  effect  is  emphasized 
in  both  drapes  by  fitting  the  goods  snugly  to  the  form,  an  idea  which  may  or  may  not  be 
used,  according  to  the  aesthetic  notions  of  the  trimmer. 

In  the  back  view  drape  the  tunic  is  finished  with  a  wide  band  of  lace  and  a  rather 
umisual  oft'ect  in  the  skirt  is  obtained  by  draping  the  folds  down  in  the  back  and  out  in  the 
long  fiat   folds  on  the  floor  to  the  front. 

In  the  other  drape,  about  the  only  new  feature  is  where  the  drapery  is  caught  up  at 
the  side  in  several  plaits  and  held  in  place  with  an  ornament,  cut  out  of  card  board  and 
covered  with  shirred  silk  ribbon.  The  drapery  over  the  shoulders  is  finished  out  with  a 
large  rosette  of  many  loops  of  ribbon,  in  the  same  color  as  the  ornament  on  the  skirt. 


Drape  20.    Thrce-tiuarter  back  view  of  chape  on 
new  form. 


186 


Drape  "21.    Simple  and  beautiful 
drape. 


Draping  on  Forms 


THREE    FORMS    IN   ONE 

AN  extremely  practical  form  is  the  one  shown  on  this  page  in  Fig.  3.     By  taking  off  the 
upper  part  shown  in  Fig.  1  you  have  left  l-'ig.  2. 

Thus  we  have  three  distinct  forms  made  out  of  one,  each  form  having  many 
uses.  For  instance,  Fig.  1  not  only  can  be  used  for  draping  but  it  makes  a  fine  collar  and 
neckwear  stand,  shirtwaist  stand,  or  fur  stand. 

Fig.  2  is  principally  intended  for  a  draping  form  but  is  also  practical  for  the  showing 
of  skirts.    Fig.  3  is  as  fine  a  garment  form  or  draping  form  as  you  can  buy. 

We  show  in  Fig.  4  bow  Fig.  3  can  be  used  for  an  exquisite  drape  of  the  finest  of  mate- 
rials. 

For  a  trimmer  who  cannot  afford  a  large  .variety  or  a  great  number  of  forms,  this 
combination  will  appeal  because  it  makes  it  possible  for  him  to  have  a  goodly  variety  in 
the  way  of  equipment  at  a  very  small  outlay. 


Rg.  1 


1^. 


L^/^ 


Fig.  4 


Fig.  3 


Draping  on  Forms 


DRAPING    THE    MERMAID    FORM 

A  FEW  years  ago  several  novelty  forms  were  gotten  out 
and  christened  "Mermaid  Forms."  We  show  these 
forms  here  in   Figs.   1   and  4. 

In  Fig.  1  the  upper  part  of  the  form  is  made  in  tlie 
shape  of  a  regular  bust  form,  but  below  the  waist  line  the 
form  is  brought  down  to  the  base  in  a  round  column  effect. 

This  gives  the  trimmer  an  opportunity  to  drape  the 
upper  part  of  the  form  in  a  regular  waist  effect,  but  because 
of  the  absence  of  any  hips  he  can  arrange  the  balance  of 
his   drape  in    entirely  new   and   novel   effects. 

In  Fig  2  is  shown  a  real  mermaid  drape  with  a  fish  tail 
train  arranged  on  the  floor.  Notice  wliat  graceful  drapes 
are  draped  from  the  shoulders. 

Fig.  3  shows  a  very  handsome  drape  having  the  upper 
part    arranged    with    wide    revcrs    and    four    widths    of   the 
goods     draped     on     the 
floor    and    radiating    to 
the   front. 

Both  these  drapes 
were  made  from  plain 
silks  and  were  trimmed 
in  fringe,  lace  and 
flowers. 


Fig.  3 


Draping  on  Forms 


Both  of  these  drapes  were  designed  by  Mr.  Will  H.  Bates  and 
were  demonstrated  by  him  at  one  of  the  window  trimming  con- 
ventions held  recently  in  Chicago  and  were  the  most  novel  of 
all  the  drapes  shown. 

Next  we  show  in  Fig.  4  the  other  type  of  mermaid  form. 
This  form  has  an  entirely  different  top,  in  fact,  it  has  an  inter- 
changeable top.  The  illustration  shows  the  egg-shaped  top  that  can 
be  taken  off  and  a  round  flat  board  substituted,  while  another  idea 
would  be  to  leave  the  top  open  and  fill  it  in  with  a  mass  of 
shirred  goods. 

Our  Fig.  5  shows  how  effectively  this  form  can  be  draped. 
First  the  goods  are  stretched  onto  the  surface  of  the  form  and 
loop  of  the  goods  wound  around  the  top  and  then  to  the  floor. 

It  will  be  noticed  that  both  these  forms  are  finished  ofif  with 
very  sightly  bases.  This  is  done  so  that  should  you  make  a  drape 
in  which  the  base  would  show,  it  would  really  add  a  touch  of 
novelty  to  your  drape  and  would  on  account  of  its  perfect  finish 
look   most   attractive. 


Fig.   4 


Fig.  5 
18'J 


A  Full  Figure  Drape  Made  in  1912 

The  above  photograph  ilhistrates  a  clever  method  of  drapinji  tlie  full  form  figure  with 
silk.  The  skirt  itself  is  a  dark  silk,  finished  off  at  the  bottom  with  a  series  of  shirred 
bands  that  are  sold  in  the  trimming  department.  Over  this  and  over  the  l)ust  has  been 
draped  a  figured  silk  to  harmonize  with  the  silk  used  in  the  skirt,  and  deveK>ped  in  a 
simple  panier  style.  The  edge  of  the  sleeves  and  of  the  top  .skirt  or  panier,  has  been 
finished   off  with  a  shirred   band,  as   indicated   in   the   illustration. 

A  belt  of  the  same  goods  finishes  off  the  waist,  while  verj-  fine  net  is  used  in  the  yoke, 
placed  over  an  albjver  lace  pattern.  Tliis  illustration  is  large  enough  so  that  every  trinnner 
can  get  a  very  clear   idea  of  all  the  details   in  connection  with  this  drape. 

190 


Drapinc;  on  Forms 


FULL  FORM 

DRAPES 

THE  drapes  illustrate 
on  this  page  wen: 
made  in  1!I12  by 
W.  Young,  decora 
le  Interstate  Mercan- 
tile Co.,  of  Winona,  Minn. 
These  drapes  were  used  dur- 
ing a  silk  sale  which  lasted  a 
week.  During  that,  time  the 
drapes  were  changed  fre- 
quently to  show  as  great  a 
variety   of   patterns   as   pos- 


sible. This  manner  of  dis- 
playing the  fabrics  attract- 
ed a  good  deal  of  notice 
and  brought  many  people 
to  the  store  who  were  ac- 
customed to  trade  else- 
where. The  drapes  of  fab- 
rics with  a  few  trimmings 
added  to  give  the  prospec- 
tive customer  a  fairly  ac- 
curate idea  as  to  how  tlie 
goods  will  make  up  and 
that  is  quite  an  advantage. 
These  drapes  were  used 
without  cutting  or  injuring 
the  goods. 


EVENING  GOWN  DRAPES 

Practical  Suggestions  for  Handling  and  Displaying  the  Finer  Fabrics  and  Trimmings — 
Greatest  Care  Must  be  Used  to  Avoid  Damage  to  the  Materials— Examples. 

THE  first  consideration  in  making  any  drape  is  to  save  the  material  from  any  harm 
through  stretching,  pinning,   soiling  or  otherwise  making  it   any  less  salable  than  it 
vi^as  before  it  went  into  the  window.    Merchandise  is  money  and  in  some  of  the  high- 
class  city  stores  the  window  dresser  will  use  over  a  hundred  dollars'  worth  of  silk  and 
trimmings  in  making  a  single  drape.     Naturally  it  is  highly  essential  that  this  costly  mate- 
rial be  handled  with  the  utmost  caution. 

It  is  a  common  fault  with  the  window  dressers,  even  with  those  of  experience,  that 
they  are  too  careless  with  the  goods  they  use  in  making  drapes.  In  order  to  get  just  the 
effect  desired,  the  trimmer  will  place  pins  where  the  tension   is  too  strong  and  the  result 


Drape   1  Drape   2 

is  a  hole  in  the  go,ods  or  a  strain  of  the  fabric  that  will  not  resume  its  original  shape. 
Such  a  defect  may  render  unsalable  an  entire  dress  pattern  running  into  a  lot  of  money. 
Possibly  the  trimmer  may  gloss  over  the  fault  when  he  returns  the  goods  to  stock  and 
it  may  escape  detection  for  the  time  being,  but  later  it  is  more  than  likely  to  be  discovered 
by  the  customer  or  by  the  critical  dressmaker  who  inspects  the  goods  with  the  utmost  care  to 
discover  faults  for  which  she  may  later  be  held  responsible. 

In  the  making  of  drapes  with  expensive  goods,  the  decorator  should  first  study  his  goods 
and  not  attempt  any  design  that  requires  a  great  deal  of  pinning  or  folding.  He  should 
be  able  to  form  a  mental  picture  of  the  various  steps  in  the  process  of  draping  and  to  see 
where  each  pin   is  to  be  placed.     If,  after  the  drape  is  pretty  well  along,  some  difficulty 

192 


Dhapino  on  Forms 


Drape 


arises  and  the  expected  ef- 
fect cannot  be  obtained  in 
tile  way  it  had  been  planned, 
do  not  pull  and  stretch  the 
material  to  reduce  the  vvai^t 
or  otherwise  make  the  jol) 
a  smooth  one.  In  such  a 
case,  it  will  generally  be 
found  that  the  drape  has 
been  started  in  the  wrong 
way,  or,  for  some  reason 
or  another,  it  is  impossible 
to  make  a  good  job.  It  is 
at  this  point  that  the  care- 
less trimmer  makes  his 
greatest  mistake.  He  has 
already  put  so  much  work 
on  the  drape  that  he  is  un- 
willing to  undo  what  has 
l^een  done  and  start  over,  so 
he  patches  it  up  as  well  as 
he  can  and  goes  ahead.  The 
result  is  either  a  clumsy 
drape  or  damaged  goods. 


While  some  dress  ma- 
terials are  to  a  certain  ex- 
tent elastic,  none  of  them 
are  intended  to  stretch. 
There  are  extremely  few 
materials  that  after  being 
stretched  unduly  for  some 
length  of  time,  will  regain 
their  first  smoothness. 
Tlicrefore  do  not  place  a 
strain  upon  your  goods. 
The  material  may  be  pulled 
snugly  over  the  hip  or 
elsewhere  to  make  a  good 
fit,  but  there  should  be  no 
strain  whatever. 

The  draping  form 
should  be  a  trifle  more 
slender  than  the  regular  suit 
form  as  allowance  must  be 
made  for  taking  care  of  ex- 
cess goods  wherever  that 
may  occur.  If  too  thin  at 
any  point  the  form  can  be 
padded   out   very   easily. 

13 


193 


Drape   4 


Dhafing  on  Forms 


There  is  one  feature  of 
draping '  upon  which  the 
beginner  frequently  goes 
wrong,  and  that  is  in  the 
selection  and  use  of  trim- 
mings. In  most  cases  the 
drapes  of  the  amateur  are 
ovcrtrimmed ;  with  an 
abundance  of  buttons,  buc- 
kles, braids,  embroideries 
and  other  trimmings  to  se- 
lect from  he  cannot  resist 
the  temptation  to  add  a  lit- 
tle bit  here  and  a  bit  there, 
until  he  has  spoiled  the  ef- 
fect. There  is  far  less  dan- 
ger of  putting  on  too  little 
tlian   too  much  trimming. 

Tlie  best  advice  to  the 
beginner  in  draping  is  to 
try  simple  effects  at  first 
and  to  practice  with  inex- 
pensive materials  until  he 
is  thoroughly  familiar  with 
the  underlying  principles 
that  govern  this  art.  After 
he  has  gained  some  facility 
in  the  handling  of  goods 
on  the  form,  he  can  use  the  l^'^ape  5 

finer  goods  and  attempt  more  pretentious  effects.  But  even  after  he  has  grown  proficient, 
or  even  expert  in  the  work,  he  will  lean  toward  the  simpler  forms  of  draping  in  which  the 
effect  is  secured  through  graceful  folds  rather  than  through  the  tight  fitting  of  the  form. 
The  drapes  shown  here  were  made  to  display  the  goods  and  trimmings  used  for  evening  and 
party  dresses.  They  were  done  without  cutting  the  materials  and  with  the  use  of  but  few  pins. 
Drape  No.  1  was  done  with  black  satin  with  a  lace  flounce  and  rhinestone  trimmings 
and  a  buckle  of  the  same  sort.  Band  lace  was  used  over  the  shoulders  and  across  the  bust 
as  well  as  for  the  sleeves.  The  skirt  was  drawn  up  in  front  and  held  in  place  by  an  orna- 
mental pin.     The  collar  and  yoke  were  of  a  pattern  that  fitted  with  the  band  lace. 

Drape  No.  2  was  made  by  first  covering  the  form  with  white  satin.  Over  this  was 
draped  a  black  shadow  flounce.  There  was  a  gold  band  at  the  waist  and  a  corsage  bouquet 
of  gold  flowers.  This  drape  was  an  especially  effective  one  on  account  of  the  combination 
of  materials  used.  However,  it  required  but  a  few  minutes  to  make.  As  the  goods  are 
of  a  delicate  character  the  arrangement  was  somewhat  loose  and  the  pinning  was  done 
with  great  care. 

Drape  No.  3  shows  a  bridal  gown  arranged  with  a  few  appropriate  accessories.  Tlie 
form  was  draped  with  the  new  bridal  silk  and  trinuned  with  real  point  lace,  making  a 
beautiful  bridal  gown.  In  this  drape  the  graceful  lines  of  the  bust,  waist  and  hip  were 
brought  out  as  fully  as  possible.     On  the  train  was  placed  a  small  white  bouquet  tied  witli 

194 


Draping  on  Forms 


white  satin  ribbon.  The  accessories  that  were  placed  in  front  consisted  only  of  a  fan. 
gloves  and  handkerchief. 

Drape  No.  4  shows  the  form  taken  apart  Lo  make  a  waist  and  a  skirt  arrangement 
separately.  This  form  will  be  described  a  little  later  on.  To  the  left  is  the  npper  part  of 
the  form  fitted  on  a  low  stand  and  draped  with  Irish  lace  to  suggest  a  waist.  At  the  right 
is  a  graceful  skirt  drape  made  of  an  Irish  lace  robe  trimmed  with  cerise  ribbon  and  a  bouquet 
of  flowers.     A  rhinestone  buckle  was  placed  at  the  back. 

Drape  No.  5  shows  an  arrangement  of  an  entirely  different  kind.  In  this  case  the 
form  was  covered  with  plain  satin  charmeuse  for  the  underdrape  and  frappe  velour  broche 
was  used  for  the  upper  drape.  This  was  trimmed  with  gold  band  lace.  A  few  pieces  of 
ermine  fur  were  added  to  finish  the  effect. 


Drape  6 

In  Drape  No.  6  the  underdrape  was  done  with  figured  woolen  dress  goods  and  over 
this  was  used  a  heavy  dress  material.  Buttons  of  an  appropriate  character  were  added. 
This  figure  suggests  two  separate  drapes,  one  on  each  side.  Note  the  graceful  line  of 
the  hip  at  the  left. 

In  most  of  the  foregoing  drapes,  the  most  costly  materials  were  used,  yet  they  were 
handled  in  such  a  way  that  n,ot  a  single  pin-hole  could  be  detected  when  the  goods  were 
returned  to  stock.  195 


Dhaimnc.  ox   Forms 


In  (Hir  Jhaiii-^  7.  S.  M  .iiid  Ki  \vc  ,sli,,u  (lrapr>  ilial  wiic  nia<K-  a>  souii  a>  tlu>c  styles 
were  Itmu.ulit  out,  ami  in  all  of  these  repriKlnctions  tlierc  lia\e  ln'cn  Iwo  salient  features — 
newness  and  ori.uinalilN .  The  experienced  Irininu-r  who  has  made  a  study  of  draping  finds 
there  is  no  linul  t..  the  hcautiful  ideas  lie  can  exi)ress  in  fahries.  Every  new  season 
ushers  in  a  new  fashion,  and  the  latest  style  is  no  sooner  suggested  than  it  appears  in  the 
show  windows,  from  which  even  the  foremost  dressmakers  often  get  their  inspirations. 


Drape    8 


Drape  7  was  in  ecru  ccdored  chiiTon  bordered  with  i)ink  and  green  llt)wers.  The  over- 
drape  was  of  Venise  lace.  The  vest  effect  was  of  rihhon  trinmuil  with  rhinestones  and  with  a 
covering  of  lace.     The  lace  was  not  cut. 

Drai)e  S  had  at  the  l.otloni  a  hlaek  veUel  rihhon  about  12  inches  wide  with  ecru  chiffon 
above  and  the  skirt  was  of  black  and  ecru  net  with  a  X'enise  donnce.  The  waist  was  of 
narrow  lace  to  niatcii  that  at  the  bottom.  .\  two  tone  ribbon  was  used  for  the  collar.  These 
goods  were  not  cut. 

196 


DuAPiNd  ON  Forms 


Drape  9  had  a  lace  skirt  with  an  overdrape  of  silk  in  tlic  panicr  style.  Changeable 
ribbon  was  used  at  the  neck  and  waist.  The  silk  was  tatYeta  in  changeable  tones  of  ecrn. 
The  silk  was  not  cut. 


Drape  10  ; 
was  beaded  trii 
was  not  cut. 


iiad 


The   panicr   was   of   changeable   l)lue   taffeta.     Thei 
d  thr  neck  and  arm.     As  in  the  otlicr  drapes,  this  si! 


Drape 


Drape  10 

It  is  of  course  most  interesting  to  be  able  to  work  with  these  finer  and  more  expensive 
fabrics  but  you  will  find  that  you  can  produce  the  same  styles  in  cheaper  goods  and  at  a 
distance  they  really  look  almost  as  good. 

Therefore  in  order  to  get  a  more  exclusive  look  to  these  expensive  fabric  drapes  it  is 
very  wise  to  place  as  few  drapes  as  possible  in  the  window  as  this  gets  all  the  attention  con- 
centrated on  the  one  or  two  drapes. 

197 


Draping  on  Forms 


It  is  always  interesting  to  look  over  the  various  drapes  tliat  have  beeen  originated  for 
there  seems  to  be  a  continual  advance  in  the  novelty  and  attractiveness  of  the  latest  crea- 
tions. Tliis,  we  think  our  readers  will  agree  with  us,  is  the  case  with  the  drapes  which 
we  show  herewith,  of  which  we  will  append  brief  descriptions  of  each : 

Drape  11 — \\'hite  satin  underskirt  with  black  chantilly  lace  flounce;  narrow  chan- 
tilly  lace  over  the  waist,  with  wliitc  rose.     Flowers,  by  the  way,  nrc  now  used  on  the  finest 


Drape  11 


Drape  12 


dresses  for  evening  wear  and  for  street.  Flowered  brocaded  velvet  is  also  used  in  the 
draping.  The  velvet  is  of  the  unusual  width  of  50  inches,  which  makes  the  work  of  bring- 
ing out  the  proper  effect  more  difficult,  but  the  success  in  doing  so  is  very  noticeable. 

Drape  12 — Gold  lace  underskirt,  with  black  flounce.  Same  on  waist,  in  narrow  width, 
over  gold  lace.  The  drape  same  as  before,  of  same  black  brocaded  velvet;  also  flowers 
at  center  on  waist. 

Drape    13— Pink   chiffon    underskirt,    witli    white    flounce.     Waist   of    white   allover   on 

198 


Draping  on  Forms 


one  side,  and  on  otlicr  side  is  white  beaded  allover.  Extra  band  silver  embroidery  on 
right  side.     Handsome  pink  roses  on  waist  and  skirt,  and  ribbon  bow  same  hue. 

Drape  14— Waist  and  skirt,  white  satin  with  gold  flowers.  Two  pieces  of  uncut  lace 
draped  over  all.  Ribbon  starts  at  skirt  in  bow  and  runs  through  to  waist.  Bunch  of 
pink  roses  at  skirt. 

Drape  15 — Waist  and  skirt,  white  satin  ground  with  silver  flowers.  Over  drape  of 
waist  and  skirt  of  one  piece  of  lace  without  cutting.     Beautiful  trimming  interspersed  with 


7.-) 


^!i 


T! 


•"«' 


Drape  13 


Drape  14 


Drape  15 


little  green  leaves  and  tiny  rosebuds,  same  outlining  corsage  and  coming  down  to  a  point 
on  skirt — an  unusually  beautiful  and  attractive  embellishment. 

These  drapes  illustrate  the  beauty  and  yet  simplicity  that  may  rule  in  even  the  finest 
goods.  Many  of  the  drapes  one  sees  nowadays  are  rather  too  complicated  to  be  easily  copied 
by  the  dressmaker.  These  are  rich,  yet  simple  and  practical,  and  admit  of  being  easily  du- 
plicated by  the  dressmaker. 

Should  the  goods  mentioned  here  be  too  expensive  and  not  carried  in  your  particular 
store  all  you  need  do  is  to  substitute  the  goods  you  have  and  even  change  the  color  scheme 
if  necessary. 

199 


l)H\l'IN(i    ON     FoHMS 


On  the  top  of  this 
page  we  show  drapes 
made  several  years  ago 
and  on  the  bottom  of 
ihc  page  wc  show  more 
recent  drape  s — to  be 
exact  there  is  five  years 
interval  between  the 
times  when  these  drapes 
were  made.  We  show 
ihem  here  as  a  demon- 
stration of  how  present 
day  draping  more  nearly 
conforms  to  the  fash- 
ions. This  is  particu- 
larly noticeable  in  the 
N  oluminous  drapes 
spread  out  on  the  floor 
in    the    older   drapes. 


Draping  on  Forms 


COMIC   DRAPING 

As   a   rule   it    is   not   wise   to   introduce  anything 
in   the  window   tliat  l)ordcrs   on   the  comical. 
In   the   first   place  it  docs  not   suggest  to  the 
customer  tlvat  they  do  any  l.nying  and  thus  by  many 
merchants    would    he    consi(U'rcd    more    or    less  of   a 
waste  of  effort. 

It  will  he  interesting  however,  to  see  the  two 
ratiier  comical  drapes  thai  we  show  on  this  page. 

In  Fig.  I  we  show  how  one  trinnner  draped  a 
complete  suit  on  a  full  form  figure  out  of  Tm-kish 
towels.  Anything  as  unusual  as  this  would  of  course 
attract  attention  and  if  used  in  a  towel  window 
would  answer  the  purpose  of  arresting  attention 
while  the  balance  of  the  display  would  have  to  in- 
terest  the   possible  customers. 

In  Fig.  2  is  a  little  window  display  that  will 
provoke  many  smiles.  It  is  explained  by  the  in- 
scription on  the  card  which  reads  "Hallowe'en 
Ghosts  of  1884."  The  display  was  suggested  by  an 
old     fashion     plate     taken     from     a     magazine     and 


Fig.  1.  Turkish  Towels  Draped  on 
mounted  on  the  show  card. 
The  full  figure  was  draped 
after  the  fashion  plate  in 
the  style  of  1884.  White 
serge  was  used  for  the 
draping  and  the  goods 
was  not  cut  or  damaged. 
At  the  right  was  a  large 
crescent  or  new  moon  cut 
from  light  lumber  and  cov- 
ered with  tin-foil.  A  large 
black  cat  with  arched  back 
was  standing  in  the  cres- 
cent. There  were  five  green 
lamps  placed  in  the  moon 
and  another  of  the  same 
color  over  the  show  card 
These  lamps  gave  the  win- 
dow the  proper  lighting 
effect. 


Fig   2.     Drape  Made  from  an  188i  Fashion  Plate 
201 


PANIER   DRAPES 

When   It  Originated  and  how   It  was  Modified  to  Meet  Modern 
Requirements 

IN  THE  fashion  news  that  filters  down  to  us  from  the  great  dress- 
making establishments  of  Paris,  we  hear  mention  of  such  things 
as  the  Pompadour  period,  the  Watteau  modes,  the  Robespierre 
collar,  etc.  We  are  told  that  one  designer  is  basing  his  models  on 
Directoire  and  influenced  by  oriental  effects,  all  Restoration  styles; 
all  of  which  is  more  or  less  confusing  to  the  prosaic  window  dresser. 
To  try  to  harmonize  and  classify  all  of  these  different  periods 
in  the  present  modes  would  seem  to  be  an  almost  hopeless  task; 
as  the  styles  as  now  used  are  so  changed  from  the  original,  in  order 
to   meet    modern   conditions,   that   it   is  sometimes   hard    to    recx-)gni2c 

their  source.     And  often  we  find  in  a  single  gown  a  combination 

of    ideas    adopted    from    different    sources.      Nobody    cares    to 

inquire   too  closely   as   to  the  historical   correctness  of  a   style, 

and   when   we   find    a   gown    combining  features    of   the   Marie 

Antoinette,  the  Empire  and  the  early  nineteenth  century  periods, 

combined  in  one,  we  accept  them   all  under  the   broad  title  of 

French  Fashions,  and  do  not  question  the  slight  inaccuracy. 
So  it  would  seem  that  the  window  dresser  must  dig  up  his 

history  and   post  up   a   bit  on   the   inside   working   of   some  of 

these  French  court  periods,   in  order  to  understand  thoroughly 

the  source  of  the  new  styles.     We  hear  a  great  deal  about  the 

Pompadour  period  as  the  source  of  the  panier.     It  may  be  inter- 
esting to  know  more  of  just  what  is  meant  by  this  Pompadour 

period. 

The    Pompadour    period    covers    the    years    during    which 

Madame  de  Pompadour  ruled  from  the  footstool  of  the  French 

throne, — broadly  speaking  from  1740  to  1750.     Let  us  quote  ex- 
tracts  from  a   short  biographical   sketch : 

"From  a  middle  class  family  in  ordinary  circumstances,  she 

developed   into  a  most   exceptional   character.     From  childhood 

she   apparently   worked   steadily  toward  the  accomplishment  of 

one   idea,   that   of   becoming   mistress   of  the   King,   Louis  XV. 

Before  her  twentieth  year  she  was  adopted  by  a  wealthy  mer- 
chant,  and  through  the  increased   opportunities   offered  by  her 

new   surroundings,    finally    succeeded    in   her   ambitious    scheme. 

She  was  one  of  the   strongest  characters  in  history,  without  a 

gleam  of  remorse  or  shame  for  the  sacrifice  of  her  girlhood ; 

kindly,    polished,    brilliant,    and    with    a   marvelous    appreciation 

of  art  and  beauty,  she  left  an  undying  impression  on  the  history 

of  art,  especially  in  the  realm  of  silk,  lace  and  costume  design. 

With  her   appreciation  of  artistic  merit   she  quickly  recognized 

the  genius  of  Boucher,  and  Watteau,  and  conceiving  the  idea  of 

embodying    the    exquisite    pastels    of    the    latter    through    living 

models,  planned   her  gardens   as   scenes  of  Arcadian  simplicity, 

in  which  the  elegants  of  the  court  appeared  dressed  as  shepherds 

and  shepherdesses." 

Watteau    was    a    noted    artist,    whose    dainty    wall    panels, 


^ 


i 


A  form  designed  es- 
pecially for  draping  the 
Panier.  It  has  weighted 
feet,  thus  permitting  the 
form  to  stand  alone  and 
allow  dainty  silk  hose 
and  shoes  to  peep  out 
from  under  the  short 
skirts. 


Panier   Drapes 


usually  done  in  simple  pastoral  scenes,  are  a  dominant  feature  of  the  Louis  XV.  style  of 
decoration.  So  it  seems  that  the  Watteau  shepherdesses  were  the  originals  of  the  Panier 
and  Pompadour  styles.  Let  us  take  one  of  these,  for  example,  and  note  the  effect  arrived 
at.  In  the  small  initial  sketch,  note  the  exaggeratedly  small  waist,  hips  and  bust  also 
exaggerated  to  increase  this  effect  and  the  skirt  is  flowing  ample  folds. 

Compare  this  with  the  present  revival  of  this  style  and  we  see  quite  a  difference  in 
each  essential  point.  In  the  first  place,  the  narrow  or  "hobble"  skirt  effects  have  found 
too  much  favor  during  the  past  two  years  to  give  away  at  once  to  a  very  increased  fullness 
in  the  skirt. 

Then  too,  our  women,  especially  the  influential  class,  with  ample  hips  of  their  own, 
are  not  taking  kindly  to  the  extreme  Panier  to  bouffant  around  the  hips,  but  are  demanding 
that  the  modern  Paniers  must  not  interfere  with  the  slender  line  of  the  figure.  This 
means  that  the  Panier  drapery  must  not  be  so  full  as  of  old,  and  also  that  the  materials 
used  be  of  the  most  supple  variety.  Soft  silks  on  the  order  of  charmcuse  are  being  used 
a  great  deal  for  this  purpose,  and  so  is  crepc-de-chine. 

The  Panier  mode  is  not  beingmetvery  enthusiastically  Ijy  the  ready-to-wear  garment  trade. 
It   really  demands  the   individual  touch   of  an   experi- 
enced dressmaker,  and  the  variety  of  ways  in  which  the 
mode  is  being  developed  will  certainly  afford  her  plenty  of 
scope  for  the  exercise  of  her  taste  and  skill. 

And  this  leads  us  up  to  the  main  point  we  wish  to  make 
for  the  window  dresser,  and  that  is,  that  this  style  means 
an  increased  sale  of  yardage  in  the  silk  department,  and 
it  is  to  encourage  and  foster  this  tendency  that  the  trim- 
mer should  devote  his  draping  energies  whenever  possible. 
Drapes  on  the  full  form,  suggesting  the  panier  style,  are 
not  difficult  to  make.  There  is  opportunity  for  an  almost 
unlimited  variety  of  effects,  and  by  choosing  proper  acces- 
sories,  laces,   buttons,   fringes,   etc.,  it   is   easy  to   suggest 

to   the   prospective   customer    ideas   which    she   can    adopt 

entirely, — and    this    means    increased    sales    for    each    of 

these   departments. 

In  the  four  drapes  shown  herewith,  Nos.  1,  2  and  4 

were  made  with  a  19-inch  silk.     No.  1  is  a  "drape"  pure 

and  simple,  and  shows  the  panier  fitted  closely  over  the 

hips,  and  then  draped  away  to  the  sides  over  a  skirt  of 

lace,  and  the  end  brought  out  to  the  floor  and  ties  in  a 

knot  near  the  end. 

In  No.  2  the  loose  panier  is  formed  by  bringing  the 

goods    across   the    front,    pinning   the    selvage   part  away 

around    the    waist    line,    and    allowing    to    drape 

loosely  around  the  sides 

to  the  back.  The  under- 
side   of    this    panier    is 

pinned  up  underneath  to 

give     the     overhanging 

effect. 

No.  3  was  made  with 

a     double     fold     Ratine 

and     is     not    strictly    a 

203 


Drape   1 


Pan  IE  R    Drapes 


panier,  but  is  given  here  as  a  suggestion  for  a  skirt  drapery  and  coat  effect  of  this  material 
and  also  how  the  drape  at  the  back  of  the  skirt  indicates  the  panier  influence,  which  can 
be  made  either  on  the  regular  half-shell  form,  or  on  one  of  the  new  full-draping  forms, 
by  using  the  side  view. 

No.  4  shows  a  more  extreme  development  of  the  panier,  in  whicli  the  side  draperies 
are  each  made  in  regular  loops  or  festoons,  laid  in  plaits  at  the  sides. 

The  panier,  although  a  revival  of  the  style  of  Colonial  days  and  of  the  French  court 
of  the  time  of  Marie  Antoinette,  is  sometimes  called  the  "basket"  skirt,  getting  its  name 
from  the  old  fashioned  paniers— wicker  baskets  used  to  carry  fruits,  etc.,  on  the  sides 
of  a  horse.  Thus  by  panier  skirt  was  meant  a  more  or  less  loose  drapery  around  the  sides 
of  the  upper  part  of  the  skirt  from  the  front  to  the 
back.  In  tlio  new  fashions,  most  anything  looped  up  is 
a  "panier."  Unlike  the  style  worn  by  Marie  Antoin- 
ette, these  paniers  often  extend  all  around  the  skirt 
in  a  soft,  graceful  overhanging  puff.  True,  many  of 
these  styles  do  suggest  paniers  in  the  low  side  drapes 
which  gracefully  merge  into  the  train,  ])ut  they  are  very 
different  from   the  paniers  of  old  times. 

In  the  spring,  taffeta  is  the  favorite  material  fur 
this  style  of  skirt,  but  later,  organdies,  silk  mulls  and 
lingerie  materials  are  best  made  up  that  way. 

The  panier  style  when  in  style  means  much  to  the 
draping  window  trimmer.  First  of  all  it  means  a  break- 
ing away  from  straight  lines  in  styles,  which  are  bar 
to  drape  satisfactorily.  In  the  second  place  the  style 
is  being  developed  in  so  many  modifications  of  the 
original  that  it  opens  up  possibilities  for  a  great  variety 
of  different  drapes.  Finally,  it  is  a  new,  nnich  discussed 
style,  and  the  trimmer  who  first  makes  use  of  it  in  his 
store  windows  is  going  to  make  a  liit  for  tlie  store 
and    for   himself. 

Tlic    drapes   illustrated    arc    ikU    siixen    .ns    examples 
of   tlic   pure   panier — rather   they   are   shown   as   givini; 
some  variety  of  ways  in  which  this  new  style  has  lieen 
developed   in   its  modifications.    If 
llie  drape  in   Xo.  -5  jiad  l)een   fin- 
i--hed  on   both   sides,   tlie   same   as 
on    the    right — which   might   easily 
be     done — a     i)anier,     approaching 
the     original     idea     would     result. 
However,     lln^     idea    of    draping 
the    panier    on    one    side    as   com- 
ing out   from  underneath  a  panel 
or   seam   in   front,   gives   quite   an 

unusual    effect.       The    illustration  T)Tav6  2 

should  give  one  a  clear  idea  of  iiow  it  is  made. 

Tt  will  be  noted  that  in  these  drapes  the  fashion  tendency  is  suggested  in  a  conser- 
vative manner  and  without  exaggeration  of  thd  style.  It  may  lie  said  in  this  connection 
th.'it  the  window  drajjcr  who  is  jn-esenling  a  uvw  style  is  frequently  led  into  gross  exaggera- 
tion  tbroni;!)   bis   natural   desire   to  bring  out   the   characteristic   features  of   the   style.     For 


204 


Panifh    Dhapks 


example,  when  the  "ho])hlc"  skirt  made  ils  appearance,  many  trinnncrs  draped  their  llj>ures 
so  tightly  abont  the  ankles  that  had  the  figures  been  living  women  they  would  certainly 
have  toppled  over  like  so  many  tenpins  through  their  inability  to  move  their  feet  an  inch 
in  any  direction.  This  tendency  toward  the  extreme  is  one  tliat  should  he  avoided.  It 
leads  to  a  caricature  rather  than  an  intelligent  illustration  of  the  fashion.  The  purpose 
of  the  drape   in  the  show   window  is  to  show  the  possible  purchaser  how   certain   materials 


Drape   3 


Drape   i 


and  trimmings  may  be  combined  to  make  a  gown  in  the  prevailing  style.  The  suggestions 
contained  in  the  drape  are  presumed  to  be  authoritative  and  to  be  taken  seriously.  That 
being  the  case,  the  window  dresser  must  avoid  any  freakish  treatment  that  has  a  tendency 
to  make  a  parody  of  the  fashion,  lie  is  less  likely  to  err  on  the  side  ,of  conservatism 
than   through   exaggeration. 

205 


Panier    Dhapes 


In  some  stores  form  draping  was  at  first  discouraged  because  it  was  claimed  that  the 
handling  of  the  goods  damaged  it  lo  some  extent.  It  was  found,  liowcver,  that  form 
draping  damaged  the  goods  reall_v  less  than  most  any  other  style  of  draping. 


Drape  5 


The  expert  trimmer  invariably  can  so  arrange  any  of  liis  drapes  that  the  goods  will  in 
no  way  be  damaged.  It  is  the  beginner  who  through  liis  lack  of  knowledge  is  most  apt  to 
muss  up  the  goods  and  fill  it  full  of  creases  and  pinholes.  This  is  one  of  the  reasons  why 
every  trimmer  should  take  a  course  of  study  in  draping.  After  this  knowledge  is  gained  he 
becomes  an  expert  and  every  store  will  appreciate  his  experience. 


Panier    Drapes 


The  manufacturers  of  forms  had  anticipated  the  demand  for  a  panier  draping  form 
and  brought  out  some  very  commendable  shapes. 

After  experimenting  with  all  of  IJiem,  we  find  they  are  well  adapted  for  every  con- 
ceivable kind  of  panier  style. 

One  of  the  cleverest  ideas  in  a  panier  form  is  that  used  in  Drape  G.  This  form  is 
designed  to  show  the  panier  styles  that  are  designed  with  the  short  skirt.  The  novelty 
of  this  form  and  this  style  of  draping  will  attract  much  attention  to  your  show  window. 
The  form  itself  is  illustrated  on  the  first  page  of  this  chapter. 


Diape    6 


Drape   7 


In  this  drape  the  paniers  are  draped  around  the  sides  from  the  front  to  the  back,  and 
end  under  a  smooth  panel  of  the  silk  down  the  back.  Note  the  short  jacket  effect  and 
the  sleeves,  which  were  made  without  cutting  the  material  or  using  any  cardboard  founda- 
tion. The  pointed  bodice  was  made  with  a  short  remnant  of  wide  lace.  A  somewhat 
similar  drape  is  shown  in  our  Drape  7. 

Drape  8  shows  the  use  of  this  same  form  with  the  upper  part  of  the  bust  taken  off, 

207 


Panihh     DhAI'F.S 


leaving   in    reality    aliiu>>t    nothing   Imt    a   skirt    foiin.     A    plain  color   silk   has   been  nsed    for 
tlie  lower  or  imdcrskirt.  while  a  fancy  silk  has  been  used  above  and  for  the  pauier. 

The  panicr  idea  can  be  carried  out  in  a  great  many  different  ways,  producing  a  number 
of  unusual  effects.  In  some,  the  panier  consists  simply  of  a  very  scant  drapery  of  thin 
lace  around  the  hips.  In  others,  this  drapery  is  carried  out  in  much  heavier  effect,  of 
taffeta  or  other  niaterirds.  presenting  a  loose,  almost  "baggy"  effect  that  reaches  down  about 


Drape    8 

to  the  knees.  In  still  others,  the  panier  is  developed  quite 
tunic  or  over-skirt  effect.  So  it  would  appear  that  the  wii 
tunity  for  much  variety  in  developing  drapes  on  this  ordei 
goods. 

Kxamples  of  these  difftreiil    elTects  in   panier  draping  ar 
is  slwwn  a  very  conservative  jianier  style,  using  two  pieces 

208 


Drape    9 

down — at  the  bottom  of  a 
trimmer  will  ha\e  oppor- 
•   the  showing  of   his  vard 


silk. 


plai, 


In  Drape  0 
d  a  flowered 


Panier    Drapes 


taffeta.  The  form  is  covered  first  with  the 
plain  silk  from  the  bust  line  down  to  the 
floor,  and  the  short  folds  draped  around, 
across  the  front.  Then  starting  with  the 
end  of  the  fancy  silk  over  the  left  shoul- 
der, carry  the  goods  down  across  the  front 
to  the  waist  line  where  it  is  pinned.  Then 
fit  around  the  waist  line  to  the  back  of 
the  form,  and  up  the  side  to  the  shoulder, 
forming  a  short  extension  of  the  silk  to 
suggest  a  sleeve.  Next  drape  the  goods 
around  the  side  of  the  form  to  the  back, 
laying  the  back  selvage  in  several  pleats 
and  pinning  in  center  of  the  back.  Repeat 
on  other  side,  using  other  end  of  the  silk. 
lunish  the  drape  with  fichu  of  wide  lace, 
and  a  large  double  bow  of  ribbon,  set 
with  a  buckle. 

In  No.  10  is  shown  an  unusual  devel- 
opment, in  that  the  panier  draping  is 
brought  out  at  the  lower  part  of  a  long 
tunic  skirt.  First,  the  lower  part  of  the 
skirt  is  formed  by  carrying  a  width  of  the 
silk  around  the  bottom  of  the  form.  This 
is  done  again  across  the  front  of  the  form 
at  the  bust  line.  Then  start  from  the  end 
of  the  silk  and  cover  the  long  cardboard 
sleeves  smoothly  up  to  the  shoulder,  carry 
over  the  top  and  down  in  the  back.  Then 
return  up  over  the  shoulder  and  down  the 
center  of  the  front.  The  two  sides  over- 
lap down  the  center  of  the  front  under 
buttons  ,of  taffeta.  Near  the  bottom  the 
overlapping  selvages  are  laid  in  several 
pleats,  and  the  goods  draped  around  the 
sides  of  the  form  to  the  back.  A  fichu  of 
lace  and  a  girdle  of  wide  ribbon  finished 
in  front  with  a  bow  and  buckle  complete 
Drape  10  the  drape. 

Paniers  look  well  when  made  of  taffeta,  which  is  particularly  suited  to  this 
style.  Flowered  or  "Cretonne"  taffeta  drapes  in  panief  effects  are  especially  pretty, 
trimmed  with  splashes  of  plain  color  in  the  way  of  revers,  girdle  or  sash.  Buff,  ecru  and 
pale  yellow  are  the  colors  much  in  favor,  also  those  dotted  with  tiny  old-fashioned  flowers 
in  bright  colors.  For  evening  and  garden  parties  these  gowns  are  very  appropriate— in 
fact,  it  is  only  in  gowns  for  such  occasions  that  the  panier  idea  is  suited. 

Drapes  Nos.  11  and  12  are  draped  on  the  regular  panier  form.  Hitherto  it  has  been 
14  209 


Panikh    Drapes 


impossible  to  drape  short-skirted  effects  on  tlic  ordinary  draping  form  because  ut  tlic 
necessity  of  covering  the  broad  bases  on  which  these  stands  usually  rest.  This  form  can 
be  fitted  with  silk  hose  and  a  pair  of  pumps,  and  is  so  balanced  that  it  will  stand  alone 
without  the  aid  of  a  prop  in  the  back,  as  is  usual  with  niost   forms  with  limbs. 

Among  the  prcltic>t  m.ilcrials  for  an  inexpensive  sunmier  frock  are  the  striped  and 
bordered  cotton  voiles.  TTicsc  voiles,  witli  printed  borders  in  floral  designs  are  numerous 
and    attractive    and    are    proving   to    la-    among    the    season's   best    sellers    in    dress    fabrics. 


Drape   11 


Xos.  11  to  ].'{  inclusive,  will  offer  some  valualile  suggestions  lo  ihe  window   trimmer 

Jlinr   "  •  •      '  -  '  

of  voile  w; 


1     —    '•    '"    '•'    •>">-iii.->i  >  >.,    >4  111    uuei    suuie    \.iuiiU)ie   SUggl'blinils    id 

in   handling  these  goods,   or  in   fact   most  any   other   bordered  materia 
k-as  used  in  making  each  of  these  drapes 
ic   l)order  makes  an  cs 
in   No, 
across  the  bust 


.\    lU-yard   lengtl 
/oile  was  used  in  making  each  of  these  drapes. 

The  i)order  makes  an  especially  good  iinish  aroimd  the  liottom  of  the  short  skirt,  and 
Mo.  11  it  is  utilized  lu  good  advantage  in  forming  llie  b.nuls  over  the  shoulders  ami 
)ss  the  bust. 


210 


Panier   Drapes 


isily    understood    from    a   close    study    oi    thij 
(1   on   short  cardboard   sleeves  pinned   to  the 


The  construction  of  No.  12  sliould 
illustration.  The  width  of  the  voile  is 
shoulders. 

No.    13    is   a   more   conservative   development    of   the   panier   idea,    using   a   panier    full 

form  without  the  feet,  'i'he  start  is  made  near  the  center  of  the  yoods,  and  carried 
arunnd  the  hollom  oi  the  l".>rni,  then  anuuid  once  aijain,  higher  up.  'i'hen  the  end> 
are  hroughl    up  to   the   hiist,   Imrdi-r    in    the   center,   and   draped   away   and   arnuiid   the    sides 


Drape   li 


Drape   13 


of  the  form  in  the  paniers.     Finally  some  of  the   surplus  gxxxls  is  brought  up   in  the  back 
and  draped  across  the  front  in  a  hchu  effect. 

Drape  14  is  not  a  panier  style,  still  it  has  the  panier  tendency  of  crossing  or  draping 
goods  across  the  hips.  We  show  it  here  because  it  is  a  very  beautiful  drape  designed  at 
the  same  time  that  paniers   were   being  used. 

A  careful  study  of  tliis  drape  will  show  you  how  it  was  done.  Two  shades  of  silk 
are  used  in  connection  with  allover  lace.  This  was  one  of  the  drapes  demonstrated  by 
Mr.  Will  II.  Bates  before  the  Window  Trimming  Ciuventi.m  held  in  Chicago  in  1912. 

211 


Panier   Drapes 


Another  drape,  purely  panier,  demonstrated  at  the  same  time  by  Mr.  Bates  is  the  one 
shown  in  Drape  15.  This  was  one  of  the  most  striking  drapes  shown  and  because  of  the 
clever  way  in  which  it  was  finished  off  with  corsage  bouquet  and  large  silk  buckle  on 
the  panier  was  received  with  much  applause. 

Every  new  style  that  comes  out  and  every  new  drape  tliat  is  developed  in  this  style 
seems  to  surpass  all  the  things  done  in  the  past. 

When  Mr.  Bates  designed  Drape  IG  it  seemed  to  surpass  most  all  the  other  panier 
drapes  and  possessed  a  striking  chic  and  French  feeling. 


Drape  14 


Drape   1£ 


The  ruffled  girdle  or  belt  effect,  the  use  of  the  artificial  flowers  and  just  the  use  of  two 
bands  of  lace  in  order  to  give  charaeUr  1<.  the  lines,  makes  of  this  drape  as  striking  a 
panier  as  one  could  possibly  desire  for  the  window. 

Drape  17  is  another  very  unusual  style  worked  out  on  the  extremely  low  bust  form 
having  the  feet  instead  of  usual  base. 

The  panier  in  this  drape  starts  at  the  siile  at  the  waist  line  aiul  winds  about  the  skirt 
in  a  regular  spiral  effect.     There  is  also  a  very  graceful  train  elVeet  added  to  this  drape. 

Originality  and  independence  in  design  are  marks  of  the  advanced  draper.  To  be  able 
to  do  things  in  a  new  and  better  way — to  be  able  to  set  the  pace  that  others  are  to  follow 

212 


Panier    Drapes 


shows  a  capacity  that  is  deserving  of  the  greatest  admiration.  Everyone  recognizes  and 
appreciates  originality. 

And  it  is  the  desire  to  be  original  that  leads  the  young  window  dresser  into  the  making 
of  more  mistakes  than  any  other  one  factor.  Perhaps  it  is  only  natural  that  a  young  man 
who  has  chosen  window  dressing  as  a  vocation,  should  be  ambitious  to  make  his  mark. 
He  would  be  less  than  a  man  if  he  did  not  want  to  receive  credit  as  an  originator  rather 
than  a  copyist.  Unfortunately  in  many  instances  he  does  not  appreciate  what  originality 
really  is,  or,  rather,  he  docs  not  fully  understand  which  kind  of  originality  it  is  that  has 
a  value. 

The  beginner  in  window  dressing  should  be  more  ambitious  to  be  right  than  to  be 
original.  Study  the  work  of  the  leading  decorators.  Follow  their  ideas  until  you  are  sure 
of  yourself.     It  is  far  more  to  your  credit  to  be  a  good  copyist  than  a  poor  originator. 


Drape  16 


Drape  17 


213 


FULL  FORM   DRAPES 

\'.\     A     KOKSTKK     CiKAnUATF,. 

DIvAPE  No.  1  is  made  over  the 
form  finished  with  feet.  'I"hc 
sleeves  and  bust  were  eovcred 
with  allovcr  laee  first,  next  cover 
the  form  from  each  shoulder  down 
to  ankles  smoothly,  and  liring  the 
surplus  of  goods  to  waist  fastening 
on  selvage  and  drape  around  to 
ankle  on  left  and  right.  Form  the 
panier  and  train  and  trim  with  vel- 
vet ribbon  and  buckle  at  ankle,  and 
t;irdle  with  a  bow  at  waist.  Drape 
.\o.  2  was  made  over  the  same  form, 
lint  with  a  solid  base.  This  drape 
was  formed  In-  covering  1)ust  with 
allover  lace  and  forming  the  Robes- 
|)ierre     collar     from     two     pieces     of 


^""""W 


5^****'i?»*5r  '■^i?^3i§^ssr^ 


Fig.  1 


narrow  satin  silk,  d<iiibling  the  goods 
and  folding  over  the  ends  for  the 
height  of  the  collar.  Then  bring  the 
goods  back  over  the  shoulder  between 
the  two  layers  and  finish  with  a  bow 
and  fancy  button.  Next  cover  the 
--leeves  with  the  ends  of  the  material 
which   was   tatifeta    silk,   covering   the 


th 


■Iva-e  an.l  < 
M-ni  the  tra 
iree    >-\vcei)s 


;it 


(be  lloor  smoothly, 
nier  by  bringing  a 
aroinid  the  waist  at 
;iping  to  the  sides, 
which  consists  of 
the  sleeves 
with  fringe 
id    bow    and 


trun 


nsl 


Fig.  2 


Idiainel    at    base. 

Drape  No.  .'^  was  made  ovor  the 
narrow  ankle  form.  Cover  the  form 
from  the  waist  down  below  the  hips 
looping  up  the  goods  about   10  to  12 


Panif.k    l)uAri;s 


Ty]*\'-S: 


Drape    3 

vet  starting  at  one  end  at  waist,  down  to  left  side 
and  around  rear  of  form  to  front  and  left,  forming 
the  lower  part  of  tunic  and  sweep  or  train  with  an- 
other end  of  velvet  pleated  on  corner  and  drape 
from  left  side  at  waist  over  to  right  shoulder  form- 
ing sleeve  from  balance  of  velvet.  Trim  with  ball 
fringe,  bouquet  and  ruching  at  neck,  bust  and  waist. 
The  waist  was  first  draped  with  Idack  lace  over 
white  lining. 

Drape  Xo.  o  was  made  over  the  full  form,  the 
figure  being  covered  with  allover  lace.  Then  fancy 
silk  was  draped  over  the  form,  first  covering  the 
sleeves  witli  the  ends  of  the  goods,  bringing  the 
material  over  the  shoulder  and  down  to  the  base 
of  the  form  tightly,  bringing  out  the  knee  effect  and 
lines  of  the  form.  The  sleeves  and  waist  were  trim- 
med with  fancy  lace ;  a  belt  of  velvet  ribbon  with 
graduated  bow  effect  and  buttons  finish  the  drapes. 
The  train  in  this  drape  is  in  three  sweeps.     Note  the 

215 


inches  at  this  point,  and  bring  the 
selvage  down  to  base  at  each  side, 
then  pin  balance  of  goods  around  to 
rear  forming  the  panier.  Next  cover 
the  bust  with  allover  lace,  and  finish 
with  a  girdle  of  dark  ribbon  and 
buttons.  Drape  the  neck  with  a 
deep  circular  collar  by  drawing  up 
top  edge  on  a  thread.  Finish  the 
drape  with  tw'O  bows  at  ankles  and 
train  to  rear. 

Drape  No.  4  was  draped  on  the 
form  with  feet.  This  shows  a  con- 
ventional drape  of  an  evening  gown 
of  black  velvet  and  striped  silk.  Start 
the  drape  by  covering  left  sleeve 
with  the  silk  drape  over  shoulder 
and  dow-n  to  right  side  on  an  angle, 
cover  the  balance  of  form  with  vel- 


Drape    4 


Panier    Drapes 


Fig.   5 


nier  to  the  right  and  to  the  left.  Lace, 
black  velvet  and  ribbon  and  niching  are 
the  trimmings  used  in  finishing  the  drape. 
Drape  No.  7  shows  a  striking  drape  of 
striped  silk.  Cover  the  shaped  cardboard 
arms  with  the  ends  of  the  material,  bring- 
ing the  goods  over  the  shoulder  and  form- 
ing a  rever.  Cover  l)Oth  sides  of  the  form 
smoothly  to  the  ankles.  Allover  lace  forms 
the  fichu.  This  and  the  sleeves  are  trimmed 
with  fringe.  An  overdrape  of  plain  mate- 
rial is  pleated  and  drawn  around  from  the 
right  hip  down  below  the  left  knee  and 
around  to  the  rear  in  a  graceful  festoon 
eflfect.  This  also  is  finished  with  fringe 
and  a  short,  pointed  train  is  brought  to  the 
right.  The  drape  is  finished  with  a  bow 
of  ribbon  at  the  waist. 


use  of  a  fancy  fan  placed  at  the  neck 
of  the  form.  A  fancy  drape  of  this 
character  is  greatly  enhanced  when 
placed  in  a  show  window  with  a 
screen  and  foliage  setting,  like  the 
llustration. 

Drape  No.  fi  shows  a  two-pattern 
effect  over  the  full  shaped  form, 
first  covering  the  cardboard  sleeves 
with  the  end  of  the  goods,  the  ma- 
terial being  brought  through  the 
shoulder  openings,  then  bringing  the 
plain  and  fancy  goods  up  over  the 
shoulders  and  covering  the  form 
smoothly  down  sides  to  the  ankles. 
Form  the  panier  with  a  plain  piece 
.of  silk,  starting  same  by  pleating  at 
the  end  of  the  goods,  fastening  at 
the  waist  line  and  bringing  the  pa- 


rig.  6 


216 


Panier    Drapes 


It  will  be  noticed  in  most  of  these  drapes  that  the  illustrations  show  the  forms  posed 
in  combination  with  decorative  screens  and  stands. 

These  decorations  are  included  so  as  to  give  some  idea  how  to  place  tlie  forms  and 
decorations  in  relation  to  each  other. 

In  another  way  they  also  give  to  (he  trimmer  several  good  suggestions  for  decorations 
to  use  in  his  window. 


Fig.  7 


In  Fig.  1  is  suggested  the  use  of  a  low  pedestal,  jardiniere  and  potted  or  artificial  palm. 
In  Fig.  2  we  have  a  simple  screen  added  to  the  pedestal,  vase  and  artificial  bouquet  of  roses. 
Fig  3  shows  a  very  similar  grouping  with  the  form  placed  on  the  reverse  side  of  the  com- 
position. Fig.  4  has  only  a  panel  backing  while  Fig.  5  has  a  fancy  screen,  tall  table  and 
floral  bouquet.    Fig.  7  shows  this  same  table  and  flowers  without  the  screen. 

217 


Dkai'inc.   on   Foh.ms 


DRAPING   FLANNELETTE 

Till",   fall  season  will  give  the  triniiiu'r  the  pleasure  of  displaying  the  new  flannels  and 
llanneletles.     It  will  give  him  an  (ii)i)()rlunit.v  to  show  the  new  goods  in  a  new  way. 
Much  has  hecn  done  along  the  line  .of  draping  goods,  uncut,  over  all  sorts  of  forms 
and   wax   figures.     If  this   draping  is   well   done  it   will  create   more   interest  ;uid   sell   more 
goods  than  any  otlier  method  of  display. 


Fig.  1 
In   Fig.   2   is    shown    an    entire   w^indow   devoted   to   the   display   of   llannelcttes.     These 
goods  are  draped  on  a  full  figure  and  on  two  waist  forms  in  the  regular  kimono  drapes.    In 
the  five  days  that  this   window  was  in   it  was  necessary  to  change  the  drapes  six  different 


Dhai'inc.  on   Fohms 


times,  because  tlic  ,suri)Ius  stocks  of  the  pallcrns 
sliown  were  sold  out.  The  stock  became  so  broken 
tliat  the  winclow  had  to  be  taken  out  tlie  fifth  day. 
This   for   flannelettes   in   August   is   not   so  bad. 

VijX.  3  shows  an  eidarged  view  of  the  central 
drape.  This  was  a  simple  drape,  the  side  bands  help- 
iuL;  out  the  effect.  The  photograph  shows  very  clear- 
1\-  how  to  drape  this  full  form.  The  goods  are 
simply  draped  over  the  shoulders  of  the  figure,  the 
same  as  one  would  throw  a  shawl  or  cape  over  the 
shoulders.  Tlie  goods  are  brought  down  straight  in 
the  front  and  indled  in  and  pinned  at  the  sides  of 
waist  line.  The  goods  drop  naturally  from  the 
shoulders  in  a  sort  of  cascade  drape  that  makes  the 
goods  look  like  kimono  sleeves,  the  border  on  the 
goods  helping  out  the  effect. 

Our  Fig.  1  shows  a  shirtwaist  form  used  on 
whicli  to  drape  flannelette  in  the  form  of  a  short 
kimono  or  dressing  sacque.  Two  of  these  drapes  are 
used  in  the  flannelette  window  shown  herewith,  the 
forms  being  placed  on  top  of  pedestals,  or  stands, 
tliat  are  also  used  for  the  draping  ,of  the  goods. 

This  method  of  draping  the  waist  forms  is  very 


Fig.  3 
similar  to  the  draping  of  the  full-length 
figure.  The  goods  shown  in  this  cut  has 
not  got  the  bands  or  border  pattern  on  both 
edges,  only  on  one,  so  that  an  extra 
width  of  the  goods  is  brought  up  under 
the  sleeves  with  the  border  design  extend- 
ing out  enough  to  show  and  make  a  finish 
to  the  sleeve  effect. 

Our  Fig.  4  shows  a  pleasing  drape  of 
plain  flannel  on  a  child's  wax  figure.  This 
drape  was  used  as  the  centerpiece  of  a 
window  of  wool  goods  for  school  and 
other  goods,  popular  for  children's  school 
dresses.  An  eight-year-old  size  wax  figure 
was  used,  and  practically  the  entire  drape 
was  made  witboiu  opening  the  goods  out 
of  the  donl)le  fold,  using  a  seven-yard  cut. 
The  surplus  i:o,ods  were  draped  o\er  the 
forearms  to  the   floor. 

The  drape  was  made  by  plaiting  the 
double  fold  of  goods  about  the  waist,  to 
make  the  skirt.  The  goods  were  then 
brought   up  from  the  back,  over  the  shoulder. 


Fig.  4 


210 


DRAPES  ON  CHILDREN'S  FORMS 

A  Branch  of  Window  Display  That  Has  Been  Neglected  by  the  Decorator — Telling 
Effects  Can  Easily  be  Produced  with  Ginghams  and  Simple  Trimmings 

THAT  most  of  us  enjoy  trimming  a  window  in  which  we  have  expensive  fabrics  to 
work  with,  all  will  agree.  The  inherent  beauty  and  attractiveness  in  a  piece  of 
goods  worth,  say,  in  the  neighborhood  of  $5.00  per  yard,  is  such  that  it  is  quite  sure 
to  catch  the  feminine  eye,  and  the  window  trimmer  gets  an  inspiration  to  do  his  very 
best  in  draping  and  the  arrangement  of  his  color  scheme.  But  how  is  it  when  the  boss 
tells  you  he  wants  a  window  trimmed  of  10-cent  ginghams,  or  perhaps  of  39-cent  dress 
goods?  Nothing  to  rave  about  in  these,  surely.  Do  you  mutter  to  yourself  something 
that  sounds  like,  "Oh,  piffle !''  and  then  go  disgustedly  to  your  work  room,  bring  out  a 
few  T-stands  and  perhaps  a  shell  form  or  two,  and  then  literally  "throw  in"  a  window 
with  the  idea  of  getting  it  off  your  mind  and  out  of  your  system  as  soon  as  possible? 


I         Fig.  2 


Or  do  you  make  an  analysis  of  these  inexpensive  fabrics  with  a  view  to  suggesting 
some  of  the  uses  to  which  they  niay  be  put,  and  then  endeavor  to  show  by  your  drapes 
a  practical  example  of  what  these  uses  may  be?  For  instance,  at  a  certain  season,  practical 
mothers  are  preparing  their  young  daughters  for  school.  Window  displays  of  ginghams, 
or  of  cheap  dress  goods  suitable  for  school  dresses,  are  common  at  this  time;  but  has 
it  ever  occurred  to  you  to  drape  these  fabrics  to  imitate  children's  school  dresses? 

Little  or  nothing  has  been  published  showing  drapes  of  children's  dresses:  We  illus- 
trate these  drapes  of  this  kind,  giving  a  fair  idea  of  what  may  be  done  in  this  style  of 
draping.  These  were  all  made  on  an  ordinary  child's  form,  eight  year  old  size,  and  using 
about  a  six-yard  length  of  gingham  or  3fi-inrh   dress  goods. 

220 


Children's   Form   Drapes 


^^ 


Drape  No.  1  shows  a  panel  front,  and  to  make  this,  start  at  about  the  center  of  the 
piece  of  goods  and  form  a  wide  box  plait  in  at  the  waistline  and  also  at  the  top  selvage. 
Now  continue  to  lay  plaits  in  the  goods  around  the  waist  line  on  both  sides  to  the  back 
forming  the  skirt.  Pin  the  plaits  that  arc  formed  above  the  waist  line,  close  to  the  side 
of  the  form.  Then  bring  the  two  ends  of  the  goods  up  over  the  shoulder  from  the  back, 
having  the  goods  folded  double;  bring  down  the  front  under- 
neath the  edge  of  the  panel  to  the  waist  line.  Fit  around  the 
waist,  allowing  the  surplus  to  hang  from  the  shoulder  to 
suggest  a  sleeve.  Finish  with  a  belt  of  velvet  ribbon  by 
starting  the  ends  of  the  ribbon  underneath  the  panel  front. 
This  velvet  ribbon  is  also  used  to  pin  around  the  edges  of 
the  sleeves. 

Drape  No.  2  is  made  with  the  surplice  style  front.  The 
sleeves  are  formed  by  fitting  the  goods  over  cardboard  foun- 
dations, starting  from  an  end  of  the  goods  for  each  sleeve. 
Fin  the  cardboard  sleeves  to  the  shoulder  of  the  form  after 
covering,   and   then  bring   down   diagonally   across   the   front. 

Have  the  goods  folded  double  in  doing  this  and  turn 
back  the  folded  edges  to  make  the  long  revers.  Tlie  skirt 
is  made  out  of  the  remaining  goods,  by  first  double  folding 
it  and  then  pinning  around  the  waist  line  in  plaits.  The 
drape  is  finished  with  a  belt  of  velvet  ribbon,  gathered  in 
three  loops  in  front  and  a  narrow  ribbon  of  the  same  color 
is  used  along  the  edge  of  the  revers. 

Drape  No.  3  was  made  with  a  36-inch  dress  goods,  but 
could  be  made  just  as  well  of  gingham.  Have  the  goods  in 
the  double  fold  lay  in  plaits  around  the  form  at  the  waist 
line  forming  the  skirt.  At  the  shoulders  pin  some  short  cylin- 
ders of  cardboard  to  give  a  foundation  for  the  sleeve.  Bring 
the  goods  (fold  double)  up  over  the  left  shoulder  and 
straight  down  the  front,  with  the  end  almost  to  the  bottom 
of  the  skirt.  Pin  the  outside  edge  around  the  end  of  the 
short  cardboard  sleeves  and  shir  the  surplus  up  on  the 
shoulder.  Then  fit  the  goods  up  around  the  form,  under- 
neath the  sleeve.  Next  bring  the  other  end  over  the  right 
shoulder,  and  down  the  front,  the  folded  edge  overlapping  on  ^^" 

the  goods  at  the  left  side.  At  the  ■  top  double  the  goods  back  underneath  to  form  the 
square  neck.  Pin  at  the  right  side,  being  sure  to  keep  the  goods  hanging  straight  down 
the  front.  Then  draw  the  surplus  goods  out  from  underneath  as  it  goes  over  the  shoulder. 
Cover  the  sleeve  on  this  side  and  fit  around  the  side  of  the  form  same  as  before.  Turn 
up  the  ends  at  the  bottom.  Finish  the  drape  with  a  band  of  velvet  ribbon  brought  around 
the  square  neck  and  down  the  front.  Also  form  a  belt  .of  the  ribbon  with  a  buckle  in  the 
center. 

These  three  drapes  are  simple  and  easy  to  make  and  they  will  suggest  to  the  window 
dresser  many  others  that  can  be  made  along  similar  lines.  Several  of  these  in  a  window 
of  ginghams  or  other  inexpensive  dress  goods  will  add  wonderfully  to  its  effectiveness 
and  form  a  marked  improvement  over  the  average  window  showing  this  class  of  fabrics. 
The  trimmer  who  is  a  real  enthusiast  will  find  it  just  as  interesting  to  work  with  the 
cheaper  materials  after  he  once  has  started.  He  must  ever  bear  in  mind  that  his  purpose 
is  to  display  merchandise  so  it  will  sell,  and  in  this  his  duties  are  not  confined  to  the  more 
expensive  goods  alone  but  to  everything  the  store  has  to  sell. 

221 


1)haimn(;   on   Imjh.ms 


HOW    TO    DRAPE    WAX    FIGURES 

General  Directions  as  to  tjie  Dressing  of  the   Wax   Figure 
or  1  muring  the  materials — practical  illustration  ok  ilow 


Without  Cutting 
IT  is  Done 


THE  I'lrst  step  is  to  get  sonic  idea  as  to  what  sort  of  a  costiinie  jou  are  going  to  model 
on  your  form.  Suggestions  may  lie  had  from  many  sources.  Fashion  magazines 
of  the  better  class  are  prolific  with  ideas  that,  with  some  slight  modifications,  can 
he  used.  But  ideas  can  be  caught  on  all  sides.  For  example,  the  suggestion  that  resulted 
in  the  drape  that  is  illustrated  here  canic  from  a  newspaper  portrait  of  a  prominent  young 
society  woman.  This  figure  was  used  in  a  silk  window  together  with  another  full  form 
drape  and  several  waist  drapes.  The  lirsi  i)ictures  will  show  the  various  steps  in  the 
evolution  of  the  drape.     It  will  be  noted  that  the  costume  has  the  full  length  sleeves. 

Fig.  1  shows  the  wax  figure,  size  30  of  the  "hipless"  type.  A  form  of  this  sort  is 
very  essential  for  draping  gowns  in  the  style  of  today.  The  old-fashioned  forms  with 
broad  hips  make  the  drape  too  awkward  and  bulky  to  be  attractive. 

Fig.  2  shows  the  beginning  of  the  preliminary  covering  of  the  figure.  The  upper  part 
of  the  figure  has  first  to  \>q  covered  with  sateen.  Tliis  should  either  l)e  white  or  in  some 
color  to  match  the  silk.  W  hite  may  be  used  under  any  color  of  all-over  or  silk.  It  requires 
just  one  yard  of  sateen  to  make  the  nnder-bodice  without  the  sleeves.  Sateen  comes  in 
double  w^idth  and  there  is  a  line  down  the  middle  where  it  is  folded.  Cut  down  this  line  9 
inches  and  let  the  line  come  right  in  the  center  of  the  neck  in  front.  Carry  the  ends  back 
over  the  shoulders,  turn  under  from  the  front  and  pin  in  the  back.  Then  pin  in  the  front 
at  the  waist  line.  Make  flat  pleats  and  pin  in  as  closely  as  possible  until  the  lining  fits 
as  smoothly  as  a  glove.  .\o  pins  should  be  placed  above  the  waist  line  as  this  must  be 
left   smooth   and   neat,   and   clear   of    all    unevenness.      In  this    figure   the   right   half   of   the 

under-hodice  has  been  fniished.  The 
hand  shows  how  the  material  is  to 
be  taken  over  the  shoulder  prepara- 
tory to  finishing  the  other  side.  One 
arm  is  sleeveless  as  yet.  while  the 
rii^ht  arm  lias  tlie  piicc  that  is  to 
make  the  sleeve,  ])inned  to  the 
>houl(Kr.  This  piece  has  not  yet 
IjL-Lii    pinned    together. 

To  make  the  sleeve  requires  a 
piece  of  uoods  nine  inches  wide  and 
tlie  width  of  tile  goods.  Stand  the 
arms  out  strai.^ht  and  i)in  the  goods 
at  the  shoulder  lirst.  Then  close  up 
tile  sleeve  by  turning  under  the  edges 
with  care  and  iiinning  them.  See 
iliai  tile  saueii  fits  rather  closely 
and  tiiat  aii  raw  edges  are  covered. 
Fig.  :?  shows  the  sleeves  of  the 
iinder-liodice  completed.  One  will 
find  tliat  after  the  sleeve  has  lieeu 
filled  lliere  is  a  surplus  of  aiiout  H 
ineiies  at  the  wrist.  At  least  2  or 
.'!  inriies  of  this  surplus  should  be 
left     because     much     of     the     extra 


Draimnc.  on  Forms 


Fig.  2 

and  careful  jol),  you  will  find  that 
all  of  the  material  has  taken  care 
of  itself.  Do  not  touch  the  bottom 
of  the  sleeves  at  this  time.  Leave 
them  just  as  they  are  until  you  put 
the  hands  on.  Xow  take  some  of 
the  surplus  goods  down  from  the 
shoulder  and  carefully  woik  enough 
over   to   cover   the   liack. 

One  slee\e  is  now  complete. 
Take  the  other  end  of  the  all-over 
and  liegin  on  the  other  arm.  at  the 
wrist.  Be  sure  to  get  this  end  of 
your  all-over  even  with  the  sateen 
of  the  under-hodice  as  was  done  on 
the  .other  arm.  Work  up  the  arm 
as  before,  leaving  the  surplus  where 
it  can  be  divided  lietween  the  two 
shoulders.  The  yoke  is  now  made 
with  the  middle  part  of  the  all-over. 
If  your  piece  of  goods  is  too  long 
(which  it  invariably  will  be)  care- 
fully pleat  the  surplus  on  top  of  the 


length  will  be  taken  up  when  the 
arms  are  l)ent  into  the  proper  atti- 
tude after  the  drape  has  been  lin- 
ished.  Some  extra  length  also  must 
be  left  to  turn  under  when  the  hand 
is  put  on.  The  trimmer  can  afford 
to  spend  a  good  deal  of  time  in  put- 
ting on  this  under-bodice  as  it  will 
last  for  years  if  properly  fitted  and 
well  taken  care  of.  There  are  some 
stores,  however,  that  will  want  the 
under-bodice  changed  in  color  to 
match  the  silk  shown. 

Fig.  4  shows  the  all-over  placed 
over  the  arms  and  ready  to  be 
pinned  together.  The  collar  has  al- 
ready been  made.  As  this  was  an 
tmusually  long  piece  the  surplus 
length  had  to  be  worked  out  at  the 
shoulders.  This  is  done  by  care- 
fully pleating  which  is  afterward 
covered  with  the  silk.  In  pinning  up 
the  arm,  when  the  arm  pit  has  been 
reached,    if    you    have    done    a    neat 


223 


Draping  on  Forms 


Fig. 

224 


Draping  on  Fokisis 


Fig.  6 

in  a  half  "V"  just  below  the  wax 
at  the  neck.  This  pin  is  to  be  re- 
moved later.  Carry  the  goods 
straight  down  the  back  to  the  waist 
line.  Now  determine  how  much  of 
the  surplus  goods  will  be  required 
from  the  back  to  reach  around  and 
meet  the  front  under  the  arm.  When 
the  sides  have  been  closed  up,  you 
can  finish  up  the  front  and  back, 
absolutely  complete  in  any  style  you 
desire.  Finish  off  the  shoulders 
with  box  pleats  or  any  way  you  like. 

Fig.  6  shows  how  the  trimming 
is  handled.  It  is  brought  over  from 
the  back  ard  down  the  front.  The 
square  at  the  bottom  has  nothing  to 
do  with  the  costume  but  it  is  ar- 
ranged in  this  manner  to  take  care 
of  the  surplus  neatly  without  wrin- 
kling it. 

Fig.  9  shows  one-half  of  the  skirt 
completed.    This  is  done  by  reaching 

IS 


shoulders  where  it  will  be  concealed 
by  the  silk.  Fig.  5  shows  the  all- 
over  completed  except  that  the 
sleeves  have  not  been  turned  under 
at  the  wrist. 

Fig.  G  shows  the  trimming  taken 
twice  around  the  lower  part  of  the 
waist  preparatory  to  putting  on  the 
silk.  This  trimming  is  fastened  at 
the  back,  as  later  the  end  is  to  be 
brought   forward   over   the   shoulder. 

Fig.  7  shows  the  beginning  of 
the  application  of  the  silk  to  the 
drape.  Begin  putting  on  the  silk  at 
the  waist  line  (not  at  the  bottom  as 
would  naturally  be  supposed).  This 
beginning  is  a  very  important  mat- 
ter and  the  whole  success  of  it  lies 
in  the  proper  start.  Take  the  end 
of  the  silk  and  turn  under  the  sel- 
vage. Then  pin  the  end  of  the  goods 
at  the  waist  line.  Keep  the  selvage 
turned  under  and  carry  the  goods 
up   over  one  of   the   shoulders.    Pin 


225 


Fig.  7 


D  HAP  I  NT.  ON  Forms 


Draping  on  Forms 


down  aliout  12  inches  below  the  pins  at  the  Ijotlum  of  tlie  Iiody  of  the  form;  bring  up  the 
goods  perfectly  straight  to  the  waist,  carrying  it  around  the  waist  line  to  form  the  side  and 
back  of  the  skirt.  Note  in  Fig.  9  how  straight  up  and  down  the  skirt  must  set.  The  back 
drape  is  then  worked  into  a  train.  The  skirt  is  then  finished  by  bringing  the  other  end  of  the 
goods  up  in  front  and  pinning.     All  that  now  remains  to  be  done  is  to  apply  the  trimmings. 

Fig.  10  shows  the  completed  iorm  with  a  row  of  buttons  down  the  front  sweep.  The 
hat,  parasol  and  other  accessories  to  the  costume  have  been  added.  Our  Fig.  11  shows 
the  drape  as  it  appeared  in  the  window  with  accessories  and  a  draped  waist  form. 

The  description  of  this  process  of  draping  may  seem  a  bit  complicated  to  the  Ijeginner. 
This   is  because   there   are   many   simple    little   twists   and   turns  which   require   much   more 

time   to   describe  than   to   execute. 


Will 


s   Ijefore 
^urprise(l 


form  of  fabric 
him,  any  trimmer  will  be 
to  lind  iiow  easy  it  is  to  follow 
these  pictures  and  the  directions. 
Once  started  right  there  will  be 
little  troul)le.  It  is  highly  impor- 
lar.t,  liowever,  that  the  f.ounda- 
li(»ns  be  projjerly  laid.  For  in- 
stance, the  row  of  pins  around 
the  bottom  of  the  body  of  tlie 
form  should  be  placed  with  great 
care.  These  pins  are  to  take  care 
of  any  surplus  goods  that  would 
cause  unevenness  over  the  hips. 
They  help  to  give  the  clinging, 
narrow  hipped  effect  that  is  at 
present  so  much  in  vogue.  I 
would  advise  tlie  use  <jf  "The 
Queen's  Own  Toilet  Pins,  Supe- 
rior Ouality,  Size  B.  B."  These 
are  extremely  small,  smooth  pins. 
almost  as  hue  as  a  needle,  and 
tlierefore  they  cannot  damage  the 
materials. 

And  it  is  absolutely  necessary 
to  learn  to  work  with  a  thimble. 
A  trimmer  cannot  afford  to  take 
chances  on  fine  materials,  even 
with  the  smallest  of  hammers. 
But  aside  from  damaging  the  goods,  the  thimble  is  much  easier  and  quicker  to  work  with. 
You  can  get  into  corners  with  it  that  would  be  very  awkward  to  reach  with  a  hammer.  Get 
a  large-sized  thimble  and  keep  it  in  your  pocket.  It  may  seem  awkward  at  first,  but  wear 
it  constantly  when  working  where  no  one  could  see  your  hands  and  you  will  grow  as 
accustomed  to  it  as  one  would  to  wearing  a  ring. 

Many  trimmers  drape  the  figures  in  their  workroom  on  Saturdays  and  then  place  them 
in  the  windows.  Of  course  the  drape  has  to  be  rearranged  again  after  it  has  been  placed 
in  the  window,  but  this  method  saves  working  too  long  in  the  window.  Study  the  best 
fashion  plates ;  watch  the  costumes  you  see  worn,  and  you  will  get  many  ideas  that  can 
be  used.     You  will  rarely   Ihid   a  picture  of  a  gown  or  waist  that  you  can  copy  exactly, 

227 


Fig.   10 


Draping  on  Forms 


but  that  is  not  necessary.  All  that  your  drape  is  intended  to  accomplish  is  to  give  a  more 
or  less  accurate  idea  as  to  how  the  materials  would  appear  when  made  up  in  a  certain 
style.  One  cannot  be  too  painstaking  in  the  first  steps  of  these  drapes,  for  on  that 
depends  the  success  of  the  whole  thing.  When  once  you  have  learned  to  make  a  smooth 
skirt  and  a  plain  waist,  the  rest  will  be  easy  and  you  can  make  almost  any  style  you  wish. 


Fig.  11 


Draping  on  Forms 


WAX   FIGURE  DRAPE  No.  2 

THE  dress  goods  department  in  most  department  stores  is  one  of  the  most  important 
and  the  trimmer  who  can  satisfy  the  buyer  for  this  section  can  feel  pretty  secure  in 
his  position.  That  is  the  reason  that  every  trimmer  should  study  draping.  He 
should  make  a  specialty  of  this  branch  of  his  work.  It  is  not  a  theory  but  a  proven  fact 
that  the  logical  way  to  display  dress  goods  is  to  show  thciii,  as  nearly  as  possible,  in  the 
manner  in  which  they  are  to  be  worn.  Actual  tests  have  proved  that  fabrics  draped  to 
represent   waists    and    gowns   sell    far   more   readily   than    when    they   are   displayed   in   any 


rig.  1 

other  way.  The  trimmer  who  is  trying  "to  make  good"  with  the  dress  goods  buyer  can 
accomplish  this  end  in  no  better  way  than  by  mastering  the  details  of  costume  draping. 
The  purpose  of  this  book  is  to  impress  upon  the  trimmer  the  importance  of  this  phase  of 
window  dressing  and  to  give  him  some  of  all  of  the  principles  of  the  work. 

To  the  beginner,  and  in  fact,  even  to  more  experienced  trimmers,  some  of  the  pro- 
cesses of  draping  are  not  very  clear.  Many  trimmers  will  never  really  master  it  until  they 
have  a  chance  to  study  it  under  the  personal  instruction  of  some  good  teacher.  Others 
will  be  able  to  follow  out  nicely  the  drapes  suggested  in  this  book. 

229 


DUAlMNd    ON    FoHxMS 


Fig.  1  shows  a  3(i-iiich  full  form  dressed  down  to  the  waist  lino.  It  was  covered  first 
with  a  pinned  slip  made  of  white  sateen.  The  guimpe  was  made  of  black  silk  all-over, 
and  it  stood  out  beautifully  against  the  white  sateen.  The  reader's  attention  is  called 
particularly  to  the  dark  parts  on  the  shoulders  which  have  the  appearance  of  a  "bolero" 
jacket  in  the  picture.  This  is  the  surplus  of  the  all-over  and  the  photograph  shows  how 
this  extra  goods  is  pleated  and  made  to  serve  as  padding  for  the  waist.  In  this  case  there 
was  at  least  V/2  yards  carefully  pleated  in  each  shoulder. 

While  this   picture   is   lacking  in  detail,   it   slmws   conc]ii'=i\  rly   ijiat   llic  goods  need   un\ 


he  cut  no  matter  how  long  the  all-'iver  may  he.  Tin-  collar  i^  made  from  llio  same  piece 
of  lace,  but  care  must  be  taken  in  the  l)eginniiii;  that  liie  palUrn  of  ihe  all-over  be  gotten 
directly  in  the  center  of  the  bust  before  the  surplus  goods  is  pleated  at  the  slunilders.  The 
ends  of  the  lace  are  of  course  at  the  wrists. 

Fig.  2  shows  just  how  to  begin  the  skirt  at  tiie  waist  line.  Tlie  si  ripe  must  lie  kept 
perfectly  straight  up  and  down.  This  illustration  shows  the  silva^r  i-inncl  in  the  center 
of  the  figure  at  the  waist  line.  The  ])in  is  held  by  the  sateen  under-lining.  The  deco- 
rator's  left   hand   shows    jnM    where    the   second   pin    is   placed.     It   will   I>e  noticed   that   in 


Draping  on  Fohms 


order  to  keep  the  stripes  vertical,  it  is  necessary  to  carry  the  goods  slightly  upward  as 
3-ou  work  toward  the  back.  This  is  done  by  working  with  the  fingers  a  little  of  the  goods 
from  underneath,  thus  making  the  fold  slightly  on  the  bias.  The  selvage  held  in  the 
right  hand  is  llun  taken  around  to  the  back  and  fitted  carefully.  The  other  side  of  the 
skirt   is  made  in   exactly  the  same  manner,   starting  from   the  same  point  in  front. 

Fig.  3  illustrates  plainly  how  a  panel  is  made  down  the  front  of  the  figure.  Both 
selvages  are  turned  under,  forming  a  panel  of  three  thicknesses.  This  is  carried  up  and 
pinned  to  the  lower  edge   of  the  guimpe. 


rig.  3 

Fig.  4  shows  the  panel  in  front  trimmed  witli  buttons  and  the  guimpe  edged  with 
No.  5  black  velvet  ribbon.  The  waist  is  also  trimmed  with  black  satin  buttons  to  match 
those  used  along  the  panel  of  the  skirt.  A  hat  and  parasol  also  have  l)een  added,  complet- 
ing the  costume.  In  the  foregoing  description  many  of  the  details  have  been  omitted,  as 
all  of  the  steps  are   fully  presented  in  the  preceding  chapter. 

Fig.  r,  shows  the  start  in  the  making  of  the  wrap.  U  was  made  of  seven  yards  of  silk 
pongee.  The  whole  length  was  folded  in  half  making  it  H^j  yards  long.  Tlie  fold,  as 
shown   in  the  hands  of  the  decorator   is   used  to  make  the   finished  front  of  the  wrap.     It 

•231 


Draping  on  Forms 


rig.  5 


232 


Draping  on  Forms 


is  thrown  over  the  shoulder  and  the  two  ends  of  the  goods  are  carried  down  to  the  floor 
at  the  back  of  the  figure  and  the  surplus  turned  under. 

Fig.  6  shows  the  wrap  completed.  The  edge  of  the  pongee  running  down  from  the 
shoulder  is  turned  under  about  2  inches  to  conceal  the  selvage  and  improve  the  fit. 

The  combination  of  the  black  and  white  silk  used  in  this  drape  and  the  wrap  of  natural 
colored  pongee  were  particularly  pleasing.  The  hat  and  parasol  were  also  selected  to  match 
the  costume.  This  entire  drape  is  one  that  is  very  easily  made  and  it  may  be  said  that 
when  the  trimmer  has  once  gained  a  little  proficiency  in  this  class  of  work  it  is  surprising 
how  quickly  it  can  be  done.     A  full  figure  can  be  draped  with  a  complete  costume  in  aliont 


the  same  time  that  it  required  to  arrange  a  drape  over  a  shell  form  or  any  of  the  standard 
fixtures.  Decorators  who  have  never  tried  costume  drapes  are  frequently  heard  to  say : 
"That  kind  of  work  is  all  right  for  trimmers  that  have  the  time  for  it,  but  it  wouldn't  do 
for  me  with  the  twenty  windows  I  have  to  take  care  of."  That  is  a  mistake.  In  the  first 
place  this  work  does  not  require  so  much  time  when  once  the  trimmer  has  become  accus- 
tomed to  it,  but  even  if  it  did  the  extra  time  would  not  be  wasted.  There  is  no  denying 
that  drapes  of  this  kind  are  much  more  effective  in  selling  goods— careful  observation  has 
proved  this  to  be  true.  That  being  the  case  it  is  up  to  the  trimmer  to  use  them.  If  he 
hasn't  time  to  do  this  sort  of  work,  the  store  should  allow  him  more  helpers.  The  extra 
expense  will  be  well  justified. 


DHAIMNd    ON    Im)|{.MS 


WAX   FIGURE   DRAPES  3  AND  4 


IX    SUBMITTING  these   suggestions   for  draping  a  wax   figure,   the  idea  has   not  been 
at  all  to  imitate  a  completed  gown,  but  rather  to  use  the  iigure  as  a  draping  stand, 
to  occasionally  take  the  place  of  the  shell  draping  form.     They  are  very  easily  con- 
structed and  will  not  injure  or  mutilate  the  goods  in  any  way. 
A   regular  wax   figure  with  elbow  length  wax  arms  is  required. 


Fig. 


Wax  Figure  Drapes  3  and  4 

Our  Drape   No.  .3    (Figs.    1.  2,  3  and    1)    was  used 
play   of   l)roadcloths,    luit    cnuld    be    used   with 
an\    similar   wide  dress  fabric. 

f  the  low  bust  effect  is  not  desired,  fit  the 
ligure  with  a  lace  chemisette.  The  front  is  to  be 
covered  with  a  length  of  velvet  (or  silk)  of  a  har- 
monizing shade.  Pin  first  at  .'\.  B,  turning  under 
t(ip  edge.  'fhcn  at  waist  line  C,  D.  Bring  down 
smoothly  in  front,  turn  under  and  bring  behind,  form- 
ing belt  by  laying  in  plaits.     Finish  with  buckle. 

Now  take  end  of  the  goods,  lay  in  three  or  four 
eep  plaits  and  pin  just  a  little  over  the  shoulder  at  K. 
Allow  folds  to  drop  naturally  to  floor,  and  pick  up 
tile  upper  selvage  edge,  as  at  F,  bring  up  bcliind,  pin- 
ning at  E,  leaving  surplus  to  fall  back  in  long,  graceful 
sweep   to  the   floor. 

Take  other  end  of  the  goods  and  repeat 
from  other  shoulder,  Init  bringing  the  selvage 
edge  across  the  back  from  I  to  E,  as  shown 
he  back  view  (Fig.  3).  Let  the  top  fold, 
.  of  this  last  sweep  fall  just  below  the  top 
f.  lid,  G,  of  the  first,  which,  in  case  you  have 
mirror  backs,  gives  the  reflection  of  the  train 
the  same  appearance  as  from  the  front.  With 
mirror  backs  the  base  of  the  form  will  also 
have  to  be  covered  with  a  surplus  of  the 
Lidods  nr   the  velvet. 

I'ull  out  folds  on  the  arms  so  as  to  cover 
to  the  elbow,  and  if  necessary, 
pin  the  under  folds  in  at  the 
waist  line.  Finish  with  loug 
li^ops  of  velvet  ribbon  fastened 
with  a  buckle  at  the  shoulder 
.and  reaching  down  over  the  arm. 
l'"ig.  4  shows  the  completed 
drape.  A  pretty  effect  with  wax 
heads  can  be  produced  by  pow- 
dering  the  hair,   giving   it   a  gray 


Drapinc.  on  Forms 


effect,  and  gray  is  a  color 
that  goes  well  with  al- 
most  any  other   color. 

The  Drape  No.  4  is 
intended  for  narrow- 
width  goods  like  silks  or 
velvets.  In  this  drape 
shown  in  Figs.  5,  6,  7, 
8  and  9  you  start  with 
a  waist  of  a  different 
l)ut  harmonizing  piece 
of  goods,  laid  in  three 
plaits  and  placed  in  V- 
shaped  effect,  as  shown 
in  Fig.  5.  Then,  start- 
ing at  waist  line,  pin 
end  of  the  goods  at  A,  B.     Lcl  fall  to  llcnr,  turn  under  and  bring  out  to  one  side  of  figure. 

Leaving  plenty  of  surplus  on  floor  lay  in  three  plaits,  bring  up  to  waist  line  and  pin 
at  B.  Then  bring  selvage  edge  up  over  top  of  shoulder  at  C,  and  let  fall  down  behind. 
Lay  in  two  wide  plaits  and  pin  again  at  waist  line  B.  Drape  gracefully  to  floor  and  carry 
back  several  feet  to  D.  Bring  up  to  a  point  between  the  shoulders,  E.  and  out  on  floor 
again  to  F.  Starting  with  other  end  of  the  goods  on  the  floor  at  G,  repeat  the  drape  on 
the  other  side. 

Carefully  smooth  nut  all  the  folds,  puff  the  loose 
goods  carelessly  about  the  elbow  and  iinish  with  a  belt 
and  also  a  large  liow  of  riblion  at  the  back,  E.  Fig.  7 
shows  the  completed  figure. 

The   photographic    illustration.    Figs.    8   and    9, 
the  second   drape,   front  and  back  view.     This   drape   was 
used  in  a  window  of  velvet  suitings.     The  drape  is  in  red. 
and    is    changed    somewhat    from    the    drawing,   giving 
more  of  an   Empire  effect. 

In  draping  wax  figures  it  is  a  good  idea  to  cover  the 
head  well  with  cheese-cloth,  or  some  other  light  material, 
so  that  the  hair  will  not  be  mussed  and  so  that  the  face 
will   not   be  dirtied   from  handling. 

Before  draping  the  figure  one  should  be  sure  that  the 
face  is  well  cleaned  and  the  hair  nicely  dressed.  There 
is  nothing  more  repulsive  in  a  window  than  a  dirty, 
disheveled   form. 

The  trimmer  who  takes  advantage  of 
some  clever  stunt  of  this  nature  is  the  man 
who  will  make  a  hit.  Don't  get  in  a  rut 
and   use   the   same   old    ideas. 


235 


Pig.  9 


Dhaping  on  Forms 


WAX    FIGURE   DRAPE    No.    5 


O 


NE  of  the  greatest  diffi- 
culties in  the  way  of 
the  inexperienced  trim- 
mer who  attempts  to  drape 
tlie  full  form  is  to  avoid  giving 
the  finished  drape  a  bulky, 
awkward  appearance  at  the 
waist.  The  standard  papier- 
mache  form  is  modeled  on 
about  the  same  lines  as  a  cor- 
seted female  figure,  and  the 
window  trimmer  must  drape 
this  figure,  disposing  of  the 
folds  of  uncut  goods  in  such  a 
manner  as  to  make  the  waist 
smooth  and  slim.  This  re- 
quires a  good  deal  of  practice 
and  judgment  to  get  the  re- 
quired result  without  damaging 
the  goods. 

In  Drape  No.  1,  two  10-yard 
lengths  of  light  green  figured 
silk  muslin,  27  inches  wide, 
were  used  in  connection  with 
white  silk  all-over  lace.  The 
waist  is  formed  first  begin- 
ning at  the  elbow  and  forming 
the  sleeves.  An  end  of  each 
pattern  of  muslin  is  used  to 
form  either  sleeve.  After  the 
sleeves  arc  made  the  goods 
arc  carried  in  folds  across  the 
front  of  the  waist  and  over 
Ihe  tops  of  the  sleeves,  being 
continued  around  to  the  back 
of  the  waist.  Form  these  folds 
across  the  shoulders  rather 
loosely  so  that  the  front  can 
be  drawn  down  to  make  a 
"V"  shaped  neck.  The  all-over  is  lined  with  a  "clouding"  composed  of  layers  of  pink, 
blue  and  green  chiffon  and  this  is  laid  smoothly  on  the  front  of  the  figure  at  the  bust 
line.  From  this  line  it  falls  smoothly  to  the  floor  to  form  the  front  panel  of  the  skirt. 
The  next  step  is  to  return  to  the  two  lengths  of  muslin  that  were  left  after  forming  the 
sleeves  and  upper  portion  of  the  waist.  This  material  is  used  to  make  the  skirt.  This  is 
made   in   long  voluminous   folds,  beginning  at  each   side  in  front  and  working   around  to 

236 


Wax  Figure  Drape  No.  5 


Draping  on  Forms 


the  back  so  that  the  two  remaining  ends  of  each  pattern  may  be  used  to  bring  around 
in  front  of  the  form  to  make  the  sash,  which  is  tied  over  the  all-over  as  shown  in  the 
picture.  Forming  the  skirt  and  sash  in  this  manner  will  be  found  very  simple  if  it  is 
started  right.  The  revers  are  made  of  a  wide  band  of  silk  and  lace  embroidery.  The 
bodice    is    finished    with    a    green   and  gold  lace  ornament. 


WAX    FIGURE    DRAPE    No.    6 


Drape  No.  6 


THIS  *s  a  two-piece  drape, 
intended  to  suggest  an  eve- 
ning gown  and  an  opera 
cloak  of  eau  de  nill  voile,  the 
under  drape  being  of  deeper 
green.  The  only  trimmings  used 
were  of  silver  tinsel  and  black 
velvet  ribbon.  The  drape  re- 
quired only  about  twenty  minutes 
to  originate  and  execute. 

It  is  interesting  to  know  that 
this  drape  was  made  by  one  of 
the  best  known  window  trimmers 
in  Australia.  This  shows  that 
rapid,  practical  and  most  artistic 
work  is  being  done  in  draping  in 
Australia. 

This  trimmer  has  also  very 
cleverly  introduced  some  inter- 
esting hair  ornaments  in  the  hair 
dressing  of  this  figure.  This  sug- 
gests right  here  that  I  advise  you 
to  always  have  the  hair  dressing 
done  by  some  one  who  can  give 
you  absolutely  the  very  latest  and 
prettiest  styles  of  hair  dressing. 

Style  is  everything  to  most 
women.  Your  store  must  pose  as 
the  style  center  and  this  means 
that  you  must  uphold  this  repu- 
tation and  this  can  only  be  done 
by  having  every  item  that  enters 
in  your  windows  absolutely  right, 
from  the  fashion  standpoint. 


237 


Draping  on  Forms 


WAX    FIGURE    DRAPE    No.    7 

THE  most  effective  drapes  and  tliose  that  more  nearly 
approach  the  close-fitting  skirt  are  made  on  the  full- 
figure  draping  form.  This  is  because  it  is  possible 
to  drape  the  goods  about  the  lower  part  of  the  form  much 
closer  and   in  a  perfect  manner. 

Recently  many  full  shai)ed  draping  forms  were  finished 
off  at  the  top  with  either  a  wax  head  or  wax  bust  and  arms. 
One  of  these  forms  is  shown  on  this  page.  This  form  is 
well  shaped  with  narrow  base  or  hobble  effect.  Notice  the 
slenderness  of  the  entire  figure  and  how  the  hipless  effect 
is  accentuated.  A  full  wax  bust  and  head  is  mounted  on 
the  top  «f  the  papier-mache  body. 

We  next  show  one  way  of  draping  this  form,  'iiie  bust 
has  first  been  draped  with  a  rich  colored  velvet  and  llie  silk 
moire  in  a  lighter  color  is  draped  around  the  form  in  a  very 
interesting  and  unusual  manner.  This  full  form  drape  was 
made  without  cutting  or  in  any  way  damaging  the  goods.  A 
gold  rosette  in  the  liair  and  one  on  the  corsage  adds  a  very 
l)leasing  touch   to   the   entire  comi)osition. 


Undraped   Form 


This  very  clever  head  dress  and  the  very 
pleasing  face  is  an  added  attraction  to  the  drape 
and  adds  a  certain  amount  of  life  to  your  win- 
dow that  attracts  attention. 

It  is  also  true  that  a  customer  gets  a  liet- 
ter  idea  how  a  certain  style  or  how  certain 
colors  will  look  on  a  blonde  or  brunette  wax 
figure  and  thus  she  gets  a  better  idea  how  it  will 
look   on   herself. 

We  do  not  suggest  eitlier  that  you  use  wax 
heads  on  all  your  forms  nor  do  we  suggest  you 
use  them  all  the  time,  but  we  do  think  they  are 
very  good  to  use  as  a  change — and  in  many  cases 
I'lti'T   than   tlie   headless   forms. 


Form   chawed  witli   Diai^c   No.   7 


2:W 


Dhaimng  on  Foinis 


WAX    FIGURE    DRAPE    No 

WE  SHOW  on  this  patic  wliat  is  called  the  arni-drapinti- 
form.      This    form   lias   a   papier-mache   body   of  the 
liipless  and  narrow  Iiase  variety.     TIic  novel  feature 
of   lliis   draping   form    is    the   wax   bust,    shoulders   and   arm. 
When   goods  arc   drajied   on   forms  of  this   kind,   one  lias 
a    very   clear   conception    of   iiow    the   goods   will   look    whc-n 
made    up    and    how    they   look   in    contrast    with    the    natural 
color   of   arms   and   neck  of  the   wearer. 
The    arm    is    jointed   at    the   shoulde 
placed    in    a    great    variety    of    positions, 


th 


It 


being 


t    It 
md    so    that 
be    put    out    o 
when    the    forr 
draped. 

We    show    at   the   liot- 
tom    of    this    page    this 
form  draped  with  a  pat- 
tern   of    the    fancy    bor- 
der  silk.     This   drape   is 
trimmed    over    the    bust 
and  shoulders,  leaving  a 
good  display  of  the  wa.K 
neck     and     arms.       The 
goods     are 
stretched  on  the 
form  in  a  plain, 
simple  style  and 
draped     d  o  w  n 
over    the    floor 
from  a  point  at 
the    left    of   the 
form. 

A    new    ide.-i 

introduced   in    tin 

Every    year 


XJndrapcd    Form 


in    trimming    is    here 
cord   and  tassels, 
has    seen     many    new 


styles  of  forms  introduced  for  draping 
and  there  are  always  some  of  these 
ideas  that  continue  \ery  good  for  a 
nund)er  of  years.  This  form  is  one  of 
those  that  are  always  good,  needing 
only   some   slight   changes   in   the   shape 

in    order    to    conform    to 

stvle   tendencies. 


'-^»2^ 


Form  Draped   v/ith   Drape  No.   8 


This  attractive  drape  was 
(- 1  imposed  of  three  materials.  The 
under  drape  was  of  white  messa- 
line  silk  with  a  pink  flower.  Over 
this,  pink  marquisette  was  draped. 
The  opera  cloak  effect  was 
made  with  champagne  colored 
crepe.  Appropriate  trimmings 
were  used  throughout.  This  drape 
was  made  without  damage  to  the 
materials  and  was  placed  in  the 
window  where  it  could  be  viewed 
from  all   sides. 


An  Opera  Coat  Made  by  S.  W.  Baggott    in  1911  for  C.  Cohen 
D.  G.  Co.,  San  Bernardino,  Cal. 


Here  is  an  excellent 
example  of  good  practical 
draping.  The  goods  are 
developed  in  very  simple 
styles  that  are  not  hard  to 
drape. 


Full  rorm   Drape   and   Shirt  Waist  Drape  Made  in   1911   by  Carl 
Oreer  for  Neuman's,  of  Joplin,  Mo. 
240 


Draping  on  Forms 


WAX    FORM    DRAPES    9    and    10 


Panier  Styles 

IN  No.  9  both  ends  of  the  material  are  started 
at    the   waist    line,    laid    in    narrow    plaits    and 

draped  straight  down  to  the  floor.  Carry  the 
goods  back  to  the  rear,  fmishing  out  the  plaits 
nicely  at  (he  bottom.  Then  get  the  center  of  the 
remaining  length  of  goods  and  bring  across  front 
of  waist  in  plaits,  pinning  these  in  the  back,  h'inally 
bring  goods  up  over  each  shoulder  and  drape  down 
the  sides  in  pannier  style.  Trimming  consists  of  a 
girdle  of  wide  ribbon,  and  wreath  of  tiny  silk  roses 
is   caught   in   the   girdle. 

Drape  No.  10  shows  the  skirt  caught  u\^  in 
plaits  at  the  side  draping  away  from  an  under- 
skirt of  fine  lace  over  ivory  satin.  The  folds  arc 
held  in  place  with  a  large  silk  rose  and  a  bouquet 
of  the  same  flowers  is  pinned  at  the  Itelt.  In  this 
drape  the  waist  part  in  surplice  cffccl  is  finished 
lirst,  then  the  skirt  is  started  from  the  other  end 
l)inned   around   the   waist  line. 


Drape  No.  9 

These  two  drapes  were  made  on  a 
style  of  costume  form  with  wax  bust  and 
arms.  This  form  has  been  specially  de- 
signed for  showing  fine  evening  costumes, 
Init  it  has  very  good  lines  for  draping  and 
can  be  made  to  serve  a  double  purpose. 
The  wire  skirt  can  be  covered  with  card- 
board as  a  foundation  on  which  to  lay 
the  goods. 


Drape  No.  10 


241 


Draping  on  Forms 


A 


DRAPES  11,  12,  13  AND  14 

CLEVERLY  handled  drape,  in  which  the  goods  are  gracefully  arranged  and  com- 
bined with  appropriate  trimmings,  will  show  the  materials  in  their  best  light  and 
suggest  an  attractive  combination  that  might  never  occur  to  the  possible  customer 

same  materials  were  shown   in  the  ordinary  way  across  the  counter. 


Drapes  11.   12.  13  and  14 

242 


Draping  on  Form? 


DRAPES  15,  16,  17  AND  18 

REMARKABLE  advances  have  been  made  in  the  art  of  draping  the  full  form  during 
the  past   three   or   four  years.      This   is   evidenced   by   the  examples   shown   on   this 
and   the   opposite   page   showing   to   what   perfection   this   1)ranch   of   the   decorator's 
work  has  been  carried. 


Drapes    15,    16     17   and    18 

243 


DRAPING   THE    WAIST    FORM 


Some  Genkkai.  Dikkctions   as   to  tiii-:   Drkssin. 
OR  Intuking   thk   Matkkiai.s — 1'nactical   li.i.i; 


:   Waist   FoR^[   Without  Cutting 
:s  (IK  ]lo\v  THE  Work  Is   Done 


rig.  1 

at  lliis  ])niiit,  carrying  the  Roods 
up  over  the  shoulder  and  down 
the  back',  allowing  just  enough 
material  to  make  a  good  turn. 
Then  come  back  over  the  other 
shoulder  to  the  front  again.  This 
leaves  one  end  of  the  material  to 
make  any  end  linish  that  may 
strike  the  fancy,  without  cutting 
the  material.  Returning  to  I'i;.;. 
1  it  will  he  noted  that  the  mate- 
rial is  lirought  straight  up  the 
front  and  pinned  at  a  point 
about  six  inches  below  the  neck. 
The  material  is  then  turned  over 
as  may  be  seen  in  the  pictm-e,  to 
make  a  sailor-collar  effect.  The 
Irimmiiig  should  be  started  at 
this  stapc  of  the  drape  and  the 
ui)per    end    should    be    placed    nn- 


Tl  1 E  illustrations  that  appear 
in     connection     with     this 
chapter     are     intended     to 
sln)w   a    few   simple   waist   drapes 
such    as    arc    used    in    every-day 
displays    for    showing    silks. 

For  this  chapter  we  have  pur- 
l)osely  selected  an  easy  drape.  If 
the  trimmer  who  has  never  at- 
tempted waist  drapes  will  master 
the  simple  principles  involved  in 
making  this  one,  he  will  soon  fmd 
himself  able  to  handle  more  com- 
plicated  designs. 

Fig.  1  shows  the  drape  started. 
The  neck  is  first  trimmed  with  a 
made  yoke  with  collar  attached, 
borrowed  from  the  ladies'  neck- 
wear department.  This  picture  also 
shows  plainly  the  starting  point  of 
the  silk  is  under  the  lower  part 
of  the  front  of  the  form.  I  have 
experimented  a  good  deal  and 
am  convinced  that  the  best  re- 
sults  can   be   obtained   by   starting 


2'1I 


Fig.  2 


Waist  Drapes 


der  the  fold  that  forms  the   colhir  so  it  will   be   hidden   from   view   when   the   collar   is 
pinned  down. 

Fig.  2  shows  the  other  half  of  the  waist  finished  by  bringing  the  goods  from  the  back- 
down to  the  front  again.     In  Fig.   1  the  trimming  is  carried  across  under  the  lower  point 

of    the    form    then    up    the    other 


ler    the    collar    and 


Fig.  3 

the  loops  of  trimming.  There  are 
three  sweeps  extending  from  this 
rosette  to  the  floor,  which  make 
a  very  full  finish. 

Figs.  .")  and  6  show  two  other 
simple  waist  drapes  made  in 
somewhat  the  same  manner  as 
the  one  described  heretofore. 
These  last  were  draped  with 
Messaline  silk  and  it  will  be 
noted  that  the  trimmings  are 
quite  plain.  These  together  with 
the  ones  shown  in  Fig.  7  suggest 
a  few  combinations  that  can  be 
worked  out  with  silk,  a  waist 
form  and  a  few  trimmings.  There 
are  hundreds  of  others  equally 
simple  that  will  suggest  them- 
selves to  the  trimmer  after  be  has 
once  acquired  a  little  facility  in 
this  work. 


the 


of 


Fig.  2  shows  the  amount 
goods  left  over  after  making  a 
waist  out  of  a  12-yards  length  of 
silk.  The  hand  is  shown  holding 
up  the  amount  of  silk  required  to 
make   a   belt. 

[•ig.  •".  shows  the  belt  made  and 
trimming  brought  around  the 
waist  line.  Three  loops  arc  made 
where  the  trimming  meets.  Fig. 
2  also  show^s  how  the  goods  must 
1  e  caught  up  and  shirred  or 
pleated  in  making  the  proper 
sweeps  e.xtending  down  to  the 
floor. 

Fig.  4  shows  the  waist  com- 
pleted with  the  floor  sweeps  fin- 
ished and  buttons  attached.  At 
the  waist  a  rosette  has  been  made 
of  the  silk  and  placed  in  back  of 


Waist  Drapes 


It  is  now  possible  to  get  quite  a  range  of  different  shaped  waist  forms  and  ones  that 
arc  finished  in  various  ways  as  regards  bases,  tops,  etc. 

This  range  of  waist  forms  makes  it  possible  for  you  to  choose  very  good  ones  that  will 

fit  in  with  your  other  fixtures  and 
thus  serve  to  have  everything  har- 
monious in  your  windows. 

Naturally  the  shapes  of  the 
waist  forms  change  each  year, 
therefore  care  should  be  taken  to 
buy  the  very  latest  shapes  and 
also  as  soon  as  the  styles  change 
be  sure  to  get  some  of  the  new 
shapes,  otherwise,  a  late  style 
drape  on  an  old  style  form  will 
look  anything  but  right. 

Many  times  it  will  be  found 
that  some  of  the  girls  in  the  store- 
are  clever  at  draping  and  making 
up  waist  drapes.  These  girls  can 
help  the  trimmer  out  very  ma- 
terially if  they  are  allowed  to 
clrape  the  waists  and  then  as  soon 
as  the  trimmer  has  the  window 
ready  all  he  needs  do  is  to  carry 
in  the  waist  or  waists  and  place 
them  where  desired  and  finish  up 
any  part  of  the  draping  not  to 
his    taste   or   not    completed. 


rig.  5 


Fig.  6 

246 


Waist  Drapes 


Fig.  7 


247 


WAisr  Dh.\im;s 


There  may  be  some  few  old  ladies  wlio 
follow  the  mandates  of  comfort  rather 
than  those  of  fashion,  but  these  are  rare 
cases — with  the  average  woman  style  is 
paramount — it  is  the  one  essential  requisite 
in  anything  she  wears.  And  the  rapidity 
with  which  style  information  travels  is 
astonishing.  A  fashion  is  developed  by  the 
Paris  dressmakers — within  a  fortnight  a 
complete  description  with  photographs,  the 
garments  themselves  perhaps,  are  in  the 
hands  of  the  leading  American  stores.  A 
few  days  later  the  new  fashion  makes  its 
appearance  in   the  show  windows. 

In  the  meantime  the  many  fashion 
journals,  representing  millions  of  circula- 
tion, have  carried  patterns  and  descrip- 
tions of  the  new  mode  to  the  most  remote 
corners  of  the  country.  Any  woman  who 
is  willing  to  pay  a  dollar  or  so  for  a  good 
fashion  journal,  can  get  all  the  style  infor- 
mation she  wants,  no  matter  how  far  in 
the  "backwoods"  she  may  live.     This  uni- 


rig.  9 


Fig.  8 

versal  dissemination  of  style  news 
obliges  the  merchant  to  keep  his 
stock  pretty  well  up  to  date. 

But  no  matter  how  much  enter- 
prise the  store's  buyers  may  display, 
it  is  impossible  to  keep  up  the  pace 
of  a  good  fashion  paper,  such  for 
instance  as  "Bon  Ton."  A  journal 
i>f  this  sort  can  naturally  print  the 
fashions  long  before  the  store  can 
offer  the  same  modes  in  made  up 
.garments. 

The  store  therefore  must  de- 
pend upon  the  window  dresser  to 
r^how  the  new  styles  first.  He  can 
easily  do  this  if  he  will  devote  the 
necessary  time  and  work  to  master 
I  lie  art  of  draping  forms  and  waists. 
W  bile  more  and  more  ready-to-wear 
:-;aniionts  are  being  sold  every  year, 
there  are  many  women  who  do  not 
and  never  will  wear  stock  garments. 
These  wnmen  who  have  their  dresses 


248 


Waist  Draim:s 


^ 

1                  -  ■ 

\ 

J- 

■ 

Hi 

Fig.  10 

■ 

■                                                                                 1 

' ^^^^^^^^1 

249 


Waist  Drapes 


made  are  usually  of  the 
wealthier  classes  and  can  af- 
ford to  spend  a  good  deal  of 
money  on  their  clothes — they 
are  profitable  customers  for 
any  store  to  have.  But — they 
want  to  see  how  certain  ma- 
terials will  look  when  made 
up.  A  picture  of  description 
is  not  enough  for  them — they 
want  to  see  the  actual  goods, 
with  the  trimmings,  as  they 
would  be  combined  in  waist  or 
gown. 

It  seems  a  wise  course  for 
every  ambitious  trimmer  who 
has  not  already  taken  up  this 
branch  of  his  work,  to  begin 
now.  The  time  is  surely  com- 
ing when  "style"  in  the  han- 
dling of  merchandise  will  re- 
ceive far  more  consideration 
than  will  the  building  of  fan- 
ciful    backgrounds.      Beautiful  rig.  12 

backgrounds  are  expected  and  necessary  at  times,  but  clever  and  artistic  drapes  arc  neces- 
sary all  the  time.  The  manner  in  which  the  goods  are  handled  counts  for  far  more  in 
selling  than  does  the  background,  no  matter  how  fine  it  may  be. 

There  are  but  two  objections  brought  against  this  class  of  draping — first,  that  it 
spoils  the  goods,  second,  that  it  takes  too  much  time.  Both  of  these  objections  are  up 
to  the  trimmer.  If  too  much  time  is  taken  to  make  the  drape,  it  is  because  the  trimmer  is 
not  sufficiently  familiar  with  the  work.  With  a  reasonable  amount  of  practice  he  can 
learn  to  drape  rapidly,  for  it  is  not  slow  work.  So  far  as  spoiling  the  goods  is  concerned, 
that  depends  upon  the  manner  in  which  they  are  handled.  The  writer  knows  from 
long  experience  that  if  the  work  is  done  in  the  right  way,  the  goods  can  be  put  back  in 
stock  as  good  as  new. 

But  even  if  these  drapes  did  require  more  time — and  if  a  piece  oi  goods  occasionally 
had  to  be  marked  down  on  account  of  damage,  the  increased  selling  value  of  such  a 
display  pays  for  the  loss  of  time  or  damage  many  times  over. 

And  here  is  some  good  advice  for  the  beginner  at  form  or  waist  draping.  Don't  be 
too  anxious  to  put  your  first  eflforts  before  the  public.  Perhaps  they  may  be  alright  but 
if  you  are  like  most  trimmers  you  will  find  that  your  first  work  will  not  be  nearly  so 
smooth  and  effective  as  that  which  comes  later. 

Get  a  length  of  old  soft  silk  from  the  bargain  table.  Then  select  a  few  trimmings 
and  get  to  work.  First  learn  to  make  a  waist  in  somewhat  the  same  manner  already 
described.  Just  try  to  get  a  good  fit — never  mind  the  trimmings  or  anything  else  except 
making  the  fabric  fit  the  form,  without  straining  it.  When  you  have  mastered  the  fitting 
of  the  waist,  try  the  skirt.  You  can  afford  to  put  in  a  good  deal  of  time  on  this  pre- 
liminary practice  for  it  is  the  secret  of  the  whole  thing — the  rest  is  largely  a  matter  of 
slight   variations  and  the   application   of   trimming. 

250 


Waist  Dhapes 


Our  illustrations  8,  9,  10  and  11  show  how  simple  a  matter  it  is  to  work  up  a  sugges- 
tion found  in  a  fashion  book.  Every  good  fashion  book  contains  many  designs  that  can 
be  copied  outright  or  with  slight  alterations.  Experiment  a  little  along  these  lines  and 
you  will  be  surprised  to  find  what  can  be  done. 

Fig.  8  shows  part  of  a  sketch  that  appeared  in  an  issue  of  "La  Bon  Ton."  With  this 
as  a  model  we  will  see  what  can  be  done  in  the  way  of  reproducing  it — not  exactly,  of 
course,  to  sucli  an   extent  that  any  observer  will  at  once  notice  the  similarity. 

Fig.  9  shows  the  form  first  covered  neatly  with  black  sateen  far  enough  down  the  front 
to  act  as  a  lining  for  the  yoke  with  a  band  of  ecru  insertion  laid  across  first.  The  silk 
started  at  the  waist  line  on  the  left  of  figure,  is  taken  up  over  the  shoulder,  down  the 
back,  up  over  shoulder,  down  the  front  and  the  two  sides  of  the  skirt  are  then  made. 
The  surplus  insertion  is  taken  through  the  back  and  worked  over  the  lower  edges  of  the 
short  sleeves. 


Fig.    13 

Fig.  10  shows  the  box  plaits  made  at  the  lower  part  of  the  form  and  how  they  should 
be  finished  at  the  waist  line.  The  material  must  then  be  folded,  making  a  panel  of  three 
thicknesses  from  which  the  cross  plaits  are  to  be  made.  The  plaits  are  easily  formed 
and  all  that  remains  is  to  attach  appropriate  buttons. 

Fig.  11  shows  the  completed  waist  with  buttons  and  a  narrow  belt  added.  The  color 
of  the  goods  was  natural  pongee  with  buttons  to  match.  While  no  effort  was  made  to 
duplicate  every  detail  of  the  model,  the  finished  drape  is  sufficiently  like  the  sketch  to 
answer  the  purpose  for  which  it  was  intended,  namely,  to  suggest  the  style. 

Figs.  12  and   13  show  several  other  drapes  arranged  on  waist  forms. 

Figs.  14  and  15  show  drawings  made  of  waist  drapes.  They  will  serve  as  suggestions 
for  the  trimmer  who  is  looking  for  an  idea  along  this  line. 

251 


Waist  I)kaim;s 


Fig.    14 


Fig.    15 


Waist  Drapes 


It  behooves  every  mercliant  to  keep  his  yard  goods 
moving,  and  there  is  no  way  quite  so  good  as  having 
the  goods  draped  attractively  and  in  a  location  where 
people  can   see  them. 

Tills  (iiu'stion  of  draping  the  goods  brings  up  the 
fad  that  one  must  inaugurate  new  drapes  all  the  time. 
The  1)1(1  drapes  get  stale  and  lose  their  attractiveness 
and    force. 

The  better  the  drape  and  the  more  frequent  the 
changes,  the  more  attention  you  will  attract,  and  thus 
your  chances  arc  greater  for  selling  more  of  these 
goods. 

In   our   Fig.   IG   we   show   a   made-up   waist   placed 
on    a   w^aist   or   corset    form,  and   over   one   shoulder   is 
carelessly    thrown    a    fold    of    gOf)ds,    the    same    as    the 
waist  is  made  from.     The  beauty  of  this  idea  is  that  it 
Fig.  1(3  shows    the     customer    just    how    the    goods    will    look 

when  made  up,  and  this  method  of  di.splay  is  so  unusual  that  the  customers  cannot  help 
but  notice  it.  You  simply  have  the  dressmaker  make  up  a  waist  out  of  a  certain  piece  of 
goods,  put  it  on  the  form  and  drape  the  yard  goods  over  one  shoulder,  leaving  the  bolt 
of  goods  lying  on  the  counter  or  against  the  stand. 

When    all  of   this   particular  pattern  of  goods   is   gone,   you   simply  close  the  waist   out 
in  your  shirtwaist  department. 

Fig.    17   shows   a   new   silk   drape  on   a  :    '""'  -^ 

waist  form.  The  novel  feature  of  this 
drape  is  the  way  the  sleeves  are  imitated. 
You  get  this  effect  by  rolling  a  small  sheet 
of  cardlioard  into  a  roll  the  si^e  of  a 
sleeve  and  jjinning  it  to  the  shouhlers  of 
the  shirt-waist  form.  It  is  then  an  easy 
matter  to  drape  the  waist  pattern  over  this 
foundation  without  cutting.  The  use  of 
lace  at  the  ends  of  the  sleeve,  around  the 
neck  and  in  the  bust  adds  to  the  beauty  of 
this  drape.  Also  notice  the  use  of  the 
buttons   and   flowers   at  the  waist  line. 


253 


Tig.   17 


DRAPES   ON    THE   NEW   SHELL   WAIST   FORM 

EACH    year   shows    a    marked    increase    in    the    interest   shown    in   dress   fabric   draping. 
This  is  undoubtedly  due,  tx3  a  great  extent,  to  the  prevailing  fashions  in  dress  which 
have  contained  so  many  features  that  can  be  easily  duplicated  in  full   form  drapes. 
But   credit  must   also  be  given   to   the   various   fixture  houses   for   placing   on   the   market 
a  number  of  special  draping  forms,  whicli  liavc  made  these  costume  drapes  comparatively 
easy. 

However,    forms    for    full    figure    draping    arc    not    the    only   ones   that    have    been    so 
featured.     A  new   iorm  that  has  just  liecn  liroiight  out  consists  of  a  half  shell  waist  form 


Fig.  1 


mounted  on  an  adjustal)Ic  metal  or  wooden  stantkird  with  lieavy  base.  This  is  quite  a 
radical  change  from  the  usual  run  of  draping  stands  and  makes  possible  the  development 
of  a  number  of  new  drapes. 

The  three  drapes  made  on  this  stand  and  shown  here,  give  some  idea  of  its  possi- 
bilities. Nos.  2  and  3  show  waist  form  trealnunts  with  the  goods  caught  up  in  folds 
underneath  and  draped  to  the  floor.  The  half  slull  feature  of  the  form  makes  these 
waist  form  drapes  very  easy  to  execute,  as  it  gives  plent>>  of  room  in  the  back  to  fold 
away  any  extra  width  of  goods.  In  No.  2  a  puff  of  the  goods  is  used  to  suggest  the  sleeve, 
also   two  of  these  arc   pinned   under  tiio   form  to   relieve   the   plainness  of  the   folds.     This 

254 


Drapes  on  the  New  Shell  Waist  Form 


drape  could  be  used  effectively  in  the 
coming  white  goods  sales,  for  showing 
wash  goods,  as  well  as  the  silks. 

The  second  drape  uses  a  cardboard 
sleeve  pinned  to  the  shoulder  of  the 
form  with  the  goods  fitted  over  this, 
starting  from  the  end.  This  drape  would 
be  more  suitable  for  the  softer  silks 
or  mercerized  materials,  27  to  3G  inches 
wide. 

Drape  No.  4  was  made  with  a  dou- 
l)le  fold  wool  dress  goods  and  is  treated 
something  on  the  order  of  the  mummy 
form,  no  attempt  being  made  to  suggest 
a  dress,  except  in  placing  the  heavy 
lace  collar  over  the  shoulder. 

There  is  seemingly  no  end  to  the 
possibilities  of  draping.  Principally  be- 
cause it  is  possible  to  originate  new 
fixtures    and    no   end   of   new    fashions. 


Fig.  3 


DRAPES 

Designed  by 

WILL  H.  BATES 


255 


Fig.   4 


DRAPING    THE    SKIRT    FORM 


Fig.   1 


Tig.  2 


T 


IKRI'",  is  now  on  the  market  papier-mache  draping  forms  that  are  cut  ot¥  at  tl 
waist  Hnc  or  a  short  distance  above  it,  thus  giving  the  trimmer  a  skirt  form  c 
which  he  can  get  out  some  very  good  drapes. 


If  3-ou  can  drape  the  half  or  full  form  it  will  be  very  easy  for  you  to  drape  the  skirt 
form,  for  it  means  nothing  more  nor  less  than  the  same  drape  that  you  put  on  the  others, 
except  that  you   do  not  have  to  drape  the  waist. 

Some  of  the  cleverest  and  most  attractive  parts  of  certain  drapes 
are  the  ones  that  go  to  make  up  the  skirt.  These  are  the  ones  yor 
want  to  use  in  your  skirt  drapes. 

To  give  you  some  idea  of  how  these  drapes  would  look  when 
completed,  we  show  on  this  page  four  such  drapes. 

Fig.  1  shows  the  front  view  of  a  very  handsome  drape  having 
an  all-over  lace  panel  down  the  front  and  the  paniers  droppe(' 
down  below  the  knees.  A  good  decorative  panel  idea  is  shown 
in  this  cut.  being  merely  a  board  covered  over  flat  with  dark  cloth 
finished  off  at  the  top  with  a  wreath  of  gold  or  silver  leaves. 

Fig.  2  shows  how  the  skirt  form  can  be  draped  in  order  to 
show  a  side  view.  The  skirt  is  rather  plain,  having  the  goods 
that  makes  the  panier  l;rought  up  to  make  a  large  bow  at  the 
waist  line.  Several  parasols  are  fastened  to  the  back  of  the  form 
and  add   an   attractive  note  to  the   display. 

Fig.  3  is  a  more  elaborate  drape,  or  rather  a  combination  of 
drapes.  First  the  skirt  drape  is  made  with  a  wide  band 
trimming  running  down  the  front  and  short  paniers 
draped  over  the  hips.  The  goods  are  then  draped  up  to 
a  tall  straight  stand  and  then  allowed  to  drape  on  dowr 
to   the   floor. 

In  our  Fig.  4  is  shown  Ivw  the 
drape  will  look  when  completed  on  a 
skirt  form  having  a  high  belt  line. 
This  drape  is  quite  simple.  Take  your 
skirt  p;ittern,  find  the  center  of  the 
goods,  and  place  across  the  front  of 
form.  The  over-drape,  as  shown  in  the 
drawing  consists  of  the  two  ends  of  the 
goods  thrown  over  the  hips.  Notice 
the  plaits  over  the  hips. 

25(1 


LIVE  MODEL  DRAPING 

A  New  Draping  Idea  Introduced  by 
Will  H.  Bates  in   1911 

THE  live  model  had  been  used  to  ad- 
vantage in  the  ready-to-wear  de- 
partment, and  the  next  step  was 
to  use  them  for  the  showing  of  fabrics, 
draped  in  imitation  of  a  late  style  gown. 
Mr.  Bates  developed  this  idea  until  it 
was  practical,  and  showed  it  for  the  first 
time  at  the  1911  convention  of  The  Na- 
tional Association  of  Window  Trimmers 
of  America. 

The  fabrics  were  draped  on  three 
young  women  who  were  later  "assembled" 
in  one  of  the  permanent  windows  of  the 
Koester  school,  thus  showing  a  complete 
window  arrangement. 

The  window  trimmers  grasped  at  once 
the  possibilities  in  this  new  idea.  Those  that 
had  used  live  models  in  exhibits  of  gowns, 
coats  and  ready-to-wear  knew  how  great  their  success  had  been  in  this  line  and  became 
anxious  to  know  just  how  to  drape  the  goods  in  the  correct  manner.  Pencils  and  paper 
were  resorted  to  and  all  the  various  steps  of  the  three  drapes  noted  down. 


Mr.  W.  H.  Bates  demonstrating  how  to  drape  a  live 
model  with  dress  goods,  showing  how  they  will 
look  when  made  up  into  a  gown. 


Completed  window  display  showing  dress  fabrics  draped  on  three  live  models, 
staged  in  one  of  the  windows  of  the  Koester  School. 


This  demonstration  was 


257 


Live  Model  Draping 


If  live  models  can  be  used  to  create  interest  in  the  new 
gowns,  they  can  also  be  used  to  show  just  how  new  fabrics  will 
look  when  made  up  in  a  stylish  gown. 

By  using  the  live  models  as  we  suggest  in  the  next  few 
paragraphs,  you  should  create  great  interest  in  your  store  and 
especially  in  the  dress  goods  department. 

The  exhibit  can  be  held  either  in  the  store  or  in  the  win- 
dow. If  you  have  it  in  the  store,  build  a  platform  for  the 
exhibit  so  that  the  people  in  the  l)ack  of  the  crowd  can  sec 
what  is  being  done. 

The  draping  can  be  done  back  of  a  screen  or  curtain,  then 
by  removing  screen  or  curtain  the  completed  drape  is  shown. 
A  greater  "hit"  will  be  made  and  more  interest  will  1  e 
awakened  if  the  trimmer  will  do  the  draping  in  the  presence  of 
the  on-lookers.  This  will  hold  their  attention  and  the  novelty 
of  it  will  bring  greater  crowds  to  the  store. 

Wm.  W.  Sterling,  the  window  trimmer  and  advertising 
man  for  G.  R.  Lyon  &  Sons,  of  Waukegan,  111.,  saw  the  possi- 
bilities not  only  as  a  window  trim  for  the  store,  but  also  as  an  advertisement.  He  therefore 
took  careful  notes  of  the  demonstration  of  this  draping  given  by  W.  H.  Bates  at  the 
Koester  School,  and  on  his  return  home  laid  his  plans  to  use  them. 

We  reprint  herewith  copy  of  Mr.  Sterling's  letter  which  is  very  interesting: 


W.  W.  sterling  draping  live 
model  for  window  display 


Completed  Show  Window  by  W.  W.  Sterling  for  G.  R.  Lyon  &  Sons  of  Waukegan,  111.,  using  live  models 

"I    am    sending   you    two   pictures    of    our    opening    window    and    the    display   of   dress 

goods  on  living  models.     It  was  a  big  success  and  the  biggest  advertisement  we  have  had. 

258 


Live  Model  Draping 


There  were  three  front-page  write  ups  Kiveii  to  us  free,  and  tlie  papers  printed  the  pictures. 

"Describing  the  window,  I  would  say  that  the  model  on  the  right  was  draped  with  white 
crepe  de  chine  and  trimmed  with  i^old  hand  and  fringe  trimming.  The  bow  was  of  Ameri- 
can beauty  colored  rihlxm  and  had  141  ild  tassels  on  the  streamers.  The  aigrette  in  the  hair 
was  a  deep  purple. 

"The  model  on  the  left  was  draped  with  •")4-inch  navy  blue  silk.  There  was  a  liand  of 
black  fringe  used  about  15  inches  from  the  Ijottom  ,of  the  skirt  as  a  trimming,  and  the 
trimming  on  the  collar  was  a  Bulgarian  liraid.  On  the  collar  there  was  a  touch  of  bright 
red  silk,  and  the  rose  in  the  hair  was  a  deep  purple. 

"We  went  into  the  window  at  prt)mptly  8  o'clock  and  both  drapes  were  finished  at 
8:35.  We  then  asked  the  people  to  step  back  and  let  us  get  the  pictures.  The  first 
picture  was  the  one  with  the  two  H.^nres  in  it.  Then  we  took  each  figure  separately,  and 
then  the  one  showing  the  (lra])ini;  (if  the  collar.  The  pictures  took  a  little  longer  than 
we  expected,  for  it  was  hard  to  knp  the  people  i)ack.  Each  picture  was  taken  with  15 
seconds'  exposure. 

"It  has  been  a  great  satisfaction  to  me  to  think  that  everything  went  off  so  nicely. 
I  had  the  entire   responsibility,  and   I'm   proud   of  the  success  of  the  affair." 

We  illustrate  on  this  page  two  clippings  taken  from  two  different  Waukegan  news- 
papers showing  how  the  store  procured  fine  publicity  at  absolutely  no  cost.  There  was 
also  interesting  and  lengthy  editorial  mention  in  these  papers  explaining  the  store  opening. 

When  a  store  can  do  things  that  will  be  of  enough  interest  so  that  the  local  newspapers 
feel  like  playing  them  up  in  the  news  cohnnns  then  the  store  is  doing  the  finest  kind 
of  advertising. 

Care  should  be  taken  in  planning  for  a  demonstration  of  this  kind  that  the  window 
trimmer  is   really   capable   of   doing   good   draping.     The   next   thing  necessary   is  to   spend 

259 


Live  Model  Draping 


Mr.  R.  L.  Paxtoii,  with  W.  C.  Stripling  of  Fort  Worth, 
Texas,  draping  live  models 


some  time  practicing  the  drapes  on  the  .girl  that  will  serve  as  a  model.  It  can  be  readily 
understood  that  the  deftness  and  quickness  developed  by  the  trimmer  in  draping  the  model 
arc  important  factors  in  making  the  affair  a  success. 

We  have  had  several  interesting  letters  from  all  parts  of  the  country  from  boys  who 
liave  used  this  idea  with  much  success.  Most  of  them  say  that  it  has  pulled  some  of  the 
largest  crowds  that  the  store  ever  Iiad. 

Mr.  R.  L.  Paxton,  window  trimmer  for  W.  C.  Stripling,  of  Fort  Worth,  Texas,  also 
used  living  models  for  draping.  The  scries  of  pictures  shown  here  shows  only  one  of  the 
drapes  made  by  Mr.  Paxton.  The  dress  goods  aisle  of  the  Stripling  store  is  about  30x100 
feet  and  will  accommodate  from  two  to  three  hundred  people  at  a  time.  A  platform  was 
built  at  the  rear  of  this  aisle  and  there  the  demonstrations  were  made.  Two  models  were 
used,  each  having  three  different  drapes.  The  six  drapes  were  completed  in  about  one 
hour.  All  of  the  manipulation  of  the  goods  was  in  plain  sight  of  everyone  and  held  the 
attention  of  the  audience  from  beginning  to  end.  The  firm  was  well  pleased  with  the  re- 
sults of  the  demonstration  and  have  determined  to  repeat  it.  The  styles  represented  in  the 
drapes  were  taken  from  a  fashion  journal  and  reproduced  as  closely  as  possible.  The  drape 
that  is  done  here  was  done  with  double  width  satin  and  30-inch  foulard.  The  various  steps 
are  shown  so  plainly  in  the  pictures  that  it  is  unnecessary  to  describe  them. 


260 


Live  Model  Draping 


261 


Draping  on  Forms 


THE  EVOLUTION  OF  A  DRAPE 

Where  the  Ideas  Come  from  and  How  They  are  Adapted  to  Practical  Use- 
Examples  OF  Drapery. 

SUCCESSFUL  trimmers  are  ofttimes  asked  the  question:  "Where  do  yon  get  yonr 
ideas?"  Skeptical  ones  and  "knockers,"  who  cannot  credit  originality,  arc  sometimes 
heard  to  remark,  "Oh,  he  gets  his  ideas  out  of  a  book!"  Which  may,  or  may  not, 
to  a  certain  extent  be  true.  The  fact  remains  that  to  be  a  success  in  this  profession,  as  with 
any  other,  one  must  be  constantly  studying,  constantly  on  the  alert  for  ideas,  and  it  matters 
not  whether  these  ideas  come  from  iMuiks,  or  arc  picked  up  in  the  everyday  walks  of  life, 
just  so  that  the  idea,  when  grasped,  is  one  tliat  is  adaptable  to  ymir  work.  In  other  words, 
keep  your  eyes  open. 

A  real  window  artist  is  a  student  of  architecture,  of  interior  decoration,  of  scenic  and 
mural  painting,  of  sculpture,  fashion,  etc.  Not  that  he  need  be  an  infallible  authority  on 
any  or  all  of  these  subjects,  but  he  should  have  a  sufficient  general  knowledge  of  these 
different  subjects  so  that  he  can  plan  a  liarmonious  scheme  of  decoration  and  see  that  it 
is  carried  out. 


Fig.  1 

When  one  has  mastered  the  fundamental  principles  of  ordinary  stand  draping,  and 
the  plainer  styles  of  shell  form  draping,  there  is  no  more  interesting  work  than  the  de- 
signing of  new  drapes  to  conform  with  the  prevailing  styles  of  the  season.  Much  attention 
and  publicity  has  been  given  to  the  draping  of  full  form  and  wax  figures  to  imitate  ready- 
made  gowns,  but  very  little  attempt  has  been  made  to  adapt  these  styles  to  the  ordinary 
hollow  shell  forms.  In  fact,  it  may  be  said  that  it  seems  to  be  much  easier  for  the  average 
trimmer  to  do  full  form  draping  than  to  drape  the  shell  forms  in  new  ways  to  suggest  the 
same  changes  in  fashions.  Thus  it  is  that  we  see  many  good  trimmers  drape  these  forms 
in  almost  exactly  the  same  way,  season  ^fter  season. 

New  ideas  in  drapes  sometimes  come  to  one  as  an   inspiration  when   working.     More 


Draping  on  Forms 


often  they  are  carefully  worked  ,out  from  ideas  seen  in  the  fashion  magazines,  or  in  im- 
ported French  gowns  seen  on  the  stage  or  in  the  ready-to-wear  department  of  your  own 
store.  Every  season  there  are  always  two  or  three  predominating  features  in  the  new 
styles  that  can  be  adapted  to  drapes.  For  instance,  one  season  was  noted  for  the  extensive 
use  of  the  fichu,  the  large  revcr  collar  in  contrasting  color,  and  various  sash  effects.  Any 
one  of  these  ideas  can  he  used  to  good  effect  in  trimming  the  shell  form  as  well  as  the 
full  form ;  and  the  rcvcr  collar,  especially,  makes  an  effective 
trimming  on  the  mummy  forms  and  even  on  some  of  the 
)lt  drapes. 

The  diagonal  sweep  of  filmy  draperies  is  a  characteristic 
note  of  most  evening  gowns,  and  this  Is  very  well  exemplified 
in  the  drape  shown  in  Fig.  2,  and  which  was  made  on  the 
double  shell  form.  Fig.  1,  which  was  sketched  from  a  pop- 
ular fashion  magazine,  shows  the  origin  of  the  idea,  and  by 
a  comparison  of  the  two,  the  evolution  of  the  drape  is  easily 
understood.  In  draping,  the  goods  is  simply  twisted  around 
the  form  in  a  diagonal  line,  and  comes  out  in  the  two  crossed 
portions  to  form  the  train.  This  is  really  the  unusual  part 
of  the  gown  which  first  caught  the  writer's  attention  in  the 
original  fashion  plate,  and  by  exaggerating  this  part  in  the 
drape,  it  ma'kes  a  novel  and  striking  effect.     Old  ivory  bro- 


caded silk,  with  an  overdrape  of  pale  coral  chiffon 
around  the  body  of  the  form  with  a  trimming  of 
gold  lace,  brings  out  the  drape  in  a  very  hand- 
some effect. 

It  is  not  always  well  to  try  to  copy  a  dress 
e.xact,  but  better  to  select  some  one  feature  that 
stands  out  from  the  rest  and  accentuate  that.  For 
instance,  in  the  drape  shown  in  Fig.  3,  which  is 
also  made  on  the  double  shell  form,  the  par- 
ticular feature  of  the  drape  is  the  way 
the  train  is  brought  out  on  the  floor  in  pointed 
effects,  with  the  ends  tied  in  knots.  In  develop- 
ing the  drape,  the  overdrape  skirt  effect  (which 
in  the  original  was  of  orange  colored  chiffon 
edged  with  lace,  over  blue  satin),  has  been  elimi-  ^'^' 

nated  and  the  idea  of  the  knotted  ends  made  the  chief  feature.  This  overdrape  skirt  can 
easily  be  made  the  keynote  of  another  drape.  The  drape  as  shown  was  worked  out  in  a 
heliotrope  taffeta  silk,  19  inches  wide,  and  trimmed  with  a  sash  effect  of  narrow  velvet 
ribbon  in  different  lengths,  each  of  which  is  tied  in  a  knot  at  the  end,  still  further  carrying 
out  the  idea  in  the  train.  It  is  in  these  minor  details  of  costume  that  one  must  seek  novelty 
in  draping. 

263 


Draping  on  Forms 


In  Fig.  4  is  shown  a  rather  unusual  drape  on  the  half  shell  form,  which  was  "faked 
up"  as  a  caricature,  you  might  say,  of  some  of  the  prevailing  ideas  of  dress,  i.  e.,  the  short 
close  fitting  jacket,  the  large  rever  collar  and  the  use  of  contrasting  bands  of  color  to  finish 
out  the  bottom  of  the  skirt.  This  latter  part  is  exaggerated  by  the  use  of  long  folds  of  the 
back.  The  drape  was  worked  up  out  of  a  short  length  of  cream  serge,  kept  in  the  double 
fold  throughout  the  drape.  Scarlet  satin  was  used  for  the  skirt  and  to  cover  the  large 
collar,  which  was  first  cut  out  of  cardboard,  and  covered  with  an  end  of  satin.  Satin  ribbon 
of  the  same  shade  was  used  fc  r  outlining  the  jacket  and  in  making  the  bow  in  front. 

We  also  suggest  that,  in  working  up  new  drapes  of  your  own,  from  such  sources  as 
indicated  here,  that  you  avoid  making  the  drape  too  complicated  or  too  "fussy."  Simple 
lines  and  natural  folds  are  much  more  effective,  besides  resulting  in  no  damage  to  the  goods. 
Fig.  5  shows  another  interesting  drape  made  on  a  style  of  draping  form  designed 
©specially  for  one  of  the  large  State  Street  stores.  This  shows  how  the  form  manufacturers 
as  well  as  tlie  window  trimmers  are  continually  looking  for  new  style  influences  so  that  they  may 
incorporate  these  correct  style  tendencies  in  their  newest  forms. 

Form  draping  should  be  the  aim  and  ambition  of  every  window  trimmer  who  is  really 
wedded  to  this  art,  because  to  form  draping  can  be  directly  traced  increased  sales  in  the 
dress  goods  and  trimming  departments  as  well  as  advertising  the  entire  store.  It  has  been 
my  experience  as  a  window  trimmer  that  when  a  full  form,  skirt  or  waist  form  was  draped 
in  a  window  of  yard  goods,  that  it  resulted  in  increased  sales  and  caused  a  great  deal  of 

favorable  comment  from  the  passerby.  Though  such 
a  person  may  not  be  ready  to  purchase  these  goods 
she  would  be  tempted  to  enter  the  store  and  look 
around,  and  with  proper  interior  display  of  mer- 
chandise many  new  customers  can  be  added  to  the 
store  list.  Form  draping  was  never  more  popular 
than  it  is  now.  So  many  good  forms  are  now  on 
the  market  that  the  window  trimmer  can  easily  find 
one  that  will  meet  any  requirements.  If  the  funda- 
mental principles  are  understood  it  is  not  a  difficult 
matter  to  figure  out  beforehand  how  any  simple 
drape  may  be  made.  Save  time  by  figuring  out  just 
how  the  drape  must  be  carried  out  step  by  step 
and  a  fine  example  of  this  work  can  be  done  in 
from  20  to  35  minutes,  according  to  the  amount  of 
work  your  design   necessitates. 

The  average  window  trimmer  should  watch  all 
lie  fashion  magazines  and  read  up  on  all  the  style 
hints,  and  use  all  these  availables  to  put  his  win- 
dows on  a  footing  with  the  modes  of  the  hour;  by 
so  doing  he  can  build  up  for  his  store  and  himself 
a  reputation  for  being  up  to  the  minute  in  style  and 
tlnis  keep  customers  at  home,  instead  of  going  to  the 
larger  shopping  centers  for  the  new  things. 


264 


Draping  on  Forms 


DRAPING    IN    SMALL   STORES 

Creditable   Form    Drapes   That   Will   Add   Greatly   to   the    Productive 
Value  of  the  Windows. 


There  are  few  fabrics  intended  for  women's 
garments  that  cannot  be  presented  more  successfully 
when  they  are  draped  to  show  or  indicate  their  ap- 
pearance when  worn,  and  to  suggest  their  effect 
when  made  up. 

It  will  often  happen  that  a  cleverly  draped  form 
will  suggest  the  entire  idea  of  a  dress  or  costume 
to  those  who  see  the  show  window  exhibit,  and  cause 
them  to  buy  the  materials  exhibited  and  to  employ 
them  in  the  same,  or  in  a  similar  manner,  to  that 
suggested. 

For  these  and  other  reasons  it  is  important  that 
those  who  plan  and  trim  the  windows  of  small,  as 
well  as  large  stores,  should  be  proficient  in  the  art 
of  draping  yard  goods  on  forms  or  other  devices 
that  will  show  the  materials  to  advantage  and  con- 
vey the  practical  suggestions  that  have  just  been 
mentioned. 

Stores  that  do  not  have,  or  cannot  afford  to 
have,  a  regular  window  trimmer,  need  not  be  barred 
from  producing  attractive,  trade-producing  windows. 
It  should  be  an  easy  matter  to  develop  the  talents 
of  a  clever  clerk.  Send  this  clerk  to  school  whert- 
draping  is  taught.  This  only  takes  a  few  weeks'  time 
and  will  pay  you  well. 

Given  a  reasonable  knowledge  of  merchandise 
and  a  fair  amount  of  good  taste  and  judgment  such 
a  clerk  will  often  accomplish  surprising  results  and 
more  than   double  his   productive  value. 

W'e  illustrate  on  this  page  a  papier-mache  full 
form  drape  figure  that  is  very  good  for  small  stores. 

There  has  always  been  a  demand  for  a  light, 
solid  form  that  would  conform  to  the  exact  lines  of 
the  female  figure  and  present  a  perfectly  smooth 
continuous  surface  over  which  fabrics  of  all  kinds 
and  widths  could  be  conveniently  draped, 
and  2  show  side  and  rear  view  o  f   the   form.     Fig 


Fig.   2 

3   shows   the   form   draped. 


Dhapinc.  on  Forms 


An  inUrcsting  group  of  drapes  giving 
the  trimmer  certain  style  suggestions  that 
may  be  helpful  to  him  in  developing  certain 
drapes    for  his   displays. 

The  first  drape  shows  a  nearly  front 
view  of  the  form  witli  all  llie  sweeps  placed 
in  front  of  the  form.  Another  one  of  these 
drapes  shows  that  the  hack  view  of  some  of 
the  drapes  can  he  made  as  attractive  as  the 
front  or  side  view. 

266 


r. 


HOW   TO    LAY    OUT    COMPLETE   WINDOWS 
PLANNING   THE    DISPLAY 

WITH  window  dressing  as  well  as  with  most  other  things  careful  prep- 
aration is,  or  should  be,  more  than  half  of  the  work.  Expressed  in 
another  way,  there  is  required  more  head  work  than  hand  work  in 
trimming-  a  good  windoAV.  The  right  way  to  do  anything  is  to  start  at  the 
beginning,  so  the  first  thing  for  the  trimmer  is  to  decide  exactly  what  he  is 
going  to  do.  He  will  save  time  by  planning  out  his  display  to  the  smallest 
detail,  as  he  can  then  go  ahead  with  confidence,  knowing  just  what  he  is  about. 

The  first  thing  he  will  have  to  consider  is  the  nature  of  the  display — 
whether  it  is  a  special  or  a  stocky  trim.  Let  us  suppose  it  to  be  the  latter. 
There  has  been  received  a  new  lot  of  dress  goods — say  twenty  different  pat- 
terns  or  colors — and  a  display  is  wanted  that  will  represent  the  line.  The 
department  manager  tells  the  window  dresser  that  he  wants  a  stocky  win- 
dow that  will  show  the  variety  and  extent  of  the  stock  and  it  is  left  to  the 
trimmer  to  do  the  rest.     He  may  show  as  many  pieces  as  he  sees  fit. 

First  he  must  consider  his  window,  its  size,  shape  and  how  it  is  to  be  laid 
out.  AMien  this  has  been  done  he  will  know  just  how  many  draping  stands  he 
can  use  and  how  each  one  is  to  be  draped.  If  the  window  is  of  the  ordinary 
size  he  may  decide  to  use,  for  instance,  eleven  stands  arranged  in  three  rows 
with  four  stands  each  in  the  front  and  back  rows  and  three  stands  in  the 
middle  row.  The  window  having  been  laid  out  (in  his  mind's  eye)  the  next 
step  is  to  choose  eleven  pieces  of  goods,  out  of  the  t\venty,  to  cover  the  stands. 

Open  each  bolt  sufficiently  so  the  color  effect  can  be  seen  and  place  them 
on  a  counter  or  table.  It  will  be  found  that  there  are  a  number  of  patterns 
that  are  nearly  alike  and  these  should  be  discarded,  as  one  purpose  of  the  dis- 
play is  to  show  variety.  Suppose  the  table  to  represent  the  floor  of  the  window^ 
and  arrange  eleven  bolts  so  that  each  bolt  will  correspond  in  position  with  one 
of  the  draping  stands  as  you  have  planned  to  place  them. 

Then  move  the  bolts  about  according  to  color  until  you  have  them  ar- 
ranged to  your  satisfaction.  Put  the  bright  colors  at  the  back  and  the  darker 
ones  toward  the  front.  If  there  arc  two  strong  colors  that  clash,  put  a  neutral 
color  between  them  and  they  will  look  all  right.  Of  course  the  trimmer 
chooses  his  colors  to  make  a  harmonious  whole  and  the  manager  may  object 

267 


How   TO   Lay   out   Complete   Windows 


to  having  some  particular  color  left  out,  although  it  is  a  color  that  the  trimmer 
may  think  would  kill  the  effect  of  all  the  others.  This  difficulty  may  be  us- 
ually overcome  by  placing  the  objectionable  color  in  the  back  row  and  sur- 
rounding it  by  neutral  tones. 

The  plan  of  the  window  is  now  complete  both  as  to  composition  and  color, 
and  in  order  not  to  forget  the  arrangement,  take  two  pieces  of  paper  and  on 
each  draw  a  diagram  of  the  window  floor,  showing  by  means  of  squares  the 
position  of  each  stand.  Cut  from  each  bolt  of  goods  two  small  samples  and 
paste  one  in  its  proper  square  on  each  of  the  diagrams.  One  of  these  diagrams 
is  for  your  own  use.    The  other  is  to  serve  as  a  memo,  for  the  manager. 

Before  the  manager's  diagram  is  given  to  him,  it  should  be  turned  over 
to  whoever  has  charge  of  the  cutting  of  the  goods,  first  marking  under  each 
sample  whether  one  or  two  dress  lengths  will  be  required  to  make  the  drape. 
In  the  meantime  the  window  is  being  cleaned  out  and  the  stands  placed  for 
the  new  display.  Stands  should  never  be  cleaned  or  repaired  in  the  window — 
that  should  always  be  done  in  the  work  room.  Choose  what  accessories  are 
needed,  using  the  color  diagram  if  necessary. 

Supposing  all  of  the  stands  to  be  placed  properly,  throw  a  piece  of  goods 
over  each  one  according  to  the  arrangement  shown  on  the  color  diagram. 
Then  step  to  the  front  of  the  window  and  review  your  color  scheme  to  see  if 
it  is  perfect.  This  ordinarily  is  not  necessary,  but  it  is  the  safer  plan,  as  goods 
in  the  bolt  are  sometimes  deceptive  and  their  true  color  tint  is  not  brought  out 
until  they  are  unfolded.  If  the  arrangement  cannot  be  improved  upon,  begin 
draping,  starting  at  the  back  row  on  the  stand  farthest  away  from  the  entrance 
to  the  window.    The  stands  at  the  front  of  the  window  should  be  done  last. 

If  the  trimmer  will  plan  out  his  windows  in  this  manner  he  can  not  only 
get  much  better  results  in  a  shorter  time  and  with  less  work,  but  he  can  reduce 
to  a  minimum  the  actual  window  work.  The  time  that  the  window  is  closed 
to  the  public  is  valuable  advertising  lost  and  the  difference  between  keeping 
the  curtain  down  two  or  three  hours  and  keeping  it  down  for  a  day  will  be 
appreciated  by  any  merchant.  The  trimmer  who  goes  into  his  window  fully 
prei)ared  and  knowing  exactly  what  he  is  going  to  do  can  raise  his  curtain  in 
a  small  fraction  of  the  time  required  by  the  man  who  takes  his  goods  into  the 
window  and  then  decides  how  he  is  to  arrange  them. 

268 


How   TO   Lay   out    Complete   Windows 


WINDOW   PLAN    No.    1 


Arrangement  o£  Fixtures 

IN  THIS  plan  is  showu  a  simple  conventional  arrangement  for  a  window  of  normal 
size.     This  window  measures  15  feet  in  length  by  7  feet  in  depth.     The  same  plan  may 

be  used  in  larger  or  smaller  windows  by  increasing  or  diminishing  the  number  of 
stands,  keeping  them  in  the  same  order. 

This  is  an  excellent  layout  for  a  sale  window,  in  which  the  goods  are  all  of  the  same 
price.  The  same  material  may  be  shown  in  seven  different  colors  or  shades  or  in  seven 
different  patterns. 

The  front  row  of  stands  is  placed  in  a  straight  line.  Their  upright  should  be  about 
one  yard  back  from  the  glass  in  order  to  leave  room  for  the  forward  sweeps.  These  sweeps 
should  never  extend  clear  to  the  glass,  that  is,  there  should  always  be  a  little  floor  space 
visible  between  the  glass  and  the  front  end  of  the  sweep.  The  two  outside  stands  are 
placed  at  equal  distances  from  the  opposite  sides  of  the  window  and  the  middle  stand  should 
be  exactly  in  the  middle.  In  the  rear  row  the  stands  are  placed  within  a  few  inches  of 
the  background,  as  all  the  draping  will  extend  toward  the  front.  The  two  outside  stands  in 
the  back  row  are  placed  near  the  corners  and  the  distance  between  them  is  divided  by 
two  stands  into  three  equal  spaces. 

Drape  2  is  shown  on  the  front  stands  and  the  forward  sweeps  of  the  middle  drape 
cross  the  sweeps  of  the  drapes  at  the  right  and  left.  The  stands  in  the  back  row  are 
covered  with  Drape  1.  For  a  window  of  this  size,  the  front  stands  should  be  By^  feet 
high  and  the  rear  ones  should  be  T  feet  or  even  higher.  Even  if  the  background  is  low, 
the  hadk  row  of  stands  should  be  high  when  Drape  1  is  used,  as  it  has  a  pyramid  shape 
and  most  of  the  goods  are  at  the  bottom.    This  drape  always  appears  lower  than  it  is. 


How   TO   Lay   out    Complete   Windows 


WINDOW    PLAN    No.    1 
Completed  Drapes 

IX  THIS  illustration  \ve  show  ilir  star.d-  in  W'ind.iw  Xo.  1  driiind.  Thi>  drawing  is  used 
to  show  how  the  window  looks  wlu-n   ^lni^ln.■d   and  to  indicate  the  manner  of  arranging 

llie  sweeps.  The  three  drapes  in  the  fr^nt  row  have  front  sweeps  that  cross  each  other. 
'Hie  hack  drapes  have  sweeps  that  lit  into  each  other.  The  lower  ends  are  concealed  and 
therefore  need  not  he  Hnished.  In  arranging  the  sweeps  in  a  window  such  as  this  one. 
where  the  sl.ands  art'  close  logdher.  care  should  he  used  to  kee])  the  arrangeinenl  uniform 
throughout.  When  the  lirsl  draiie  has  heen  madi-,  the  next  one  lo  it  in  the  -ame  row, 
should  he  constructed  as  nearly  like  il  as  possihle  and  this  similarity  should  he  maintained 
througliout  all  the  drapes  in  that  row.  In  an  unconventional  window  it  is  not  so  essential 
that  the  stands  he  draped  in  precisely  the   ^amc  maimer. 

This  drawinii  illustrates  how  well  a<lapted  this  style  of  draping  is  for  si,,cky  windows, 
as  well  as  those  in  which  only  a  few  pieces  of  goods  are  shown.  The  sweei>s  of  the 
various  drapes  lit  int,o  each  other,  making  it  possihle  to  show  as  many  pieces  as  could 
he  shown  in  any  other  way.  h'.ven  more  iiieces  can  Ik-  put  in  the  window  than  are  shown 
in  this  picture. 


270 


How   TO   Lay   out    Complete   Windows 


WINDOW   PLAN    No.   2 

HERE  is  a  good  conventional  arrangement  for  a  stocky  window  in  which  it  is  desir- 
able to  show  as  many  pieces  of  goods  as  possible.  The  stands  shown  here  are 
especially  appropriate  for  this  kind  of  an  arrangement,  as  they  are  easily  draped 
and  require  but  little  goods.  The  square  corners  cause  the  goods  to  fall  in  graceful 
folds,  no  matter  what  kind  of  material  may  be  used.  They  answer  equally  well  for  the 
heaviest  woolens  or  the  lightest  lawns. 

The  front  row  is  placed  so  the  uprights  are  about  24  inches  from  the  glass.  They 
are  all  at  equal  distance  from  each  other.  The  stands  in  the  back  row  have  slanting  tops 
and  are  placed  close  to  the  back  of  the  window,  and  each  stand  is  directly  behind  the 
corresponding  stand  in  the  front  row.  They  do  not  appear  so  in  the  drawing,  but  that  is 
on  account  of  the  perspective.  The  three  stands  in  the  middle  row  also  have  slanting  tops 
and  are  placed  just  half  way  between  the  front  and  back  rows. 

The  front  stands  are  3^  feet  high  and  are  covered  with  Drape  2,  the  front  sweeps 
crossing  as  illustrated  in  Plan  1.  In  the  middle  row  Drape  2  is  also  used  and  the  ends 
of  the  forward  sweeps  (except  those  of  the  end  sweeps)  are  concealed  beneath  the  front 
drapes.  The  stands  in  the  middle  row  are  5  ft.  high.  The  back  row  of  the  stands  nun 
be  draped  in  two  ways.  They  may  be  treated  as  shown  in  Drape  3,  Fig.  2,  which  is  the 
same  as  the  regular  Drape  3,  except  the  side  sweeps  are  omitted.  This  is  perhaps  the 
best  drape  for  the  back  row  of  stands,  as  it  takes  up  less  room  and  does  not  give  the 
back  a  crowded  appearance. 

Another  way  to  drape  the  back  stands  is  to  treat  them  as  shtnvn  in  Drape  2,  Fig.  2, 
except  that  the  material  is  draped  down  straighter  or  closer  to  the  stand  than  is  shown 
in  the  drawing.  If  the  window  is  an  unusually  lar.ne  and  deep  one  tlie  back  row  may 
be   dressed   with   the   regular   Drape  2. 

Before  beginning  to  drape  the  stands  in  this  or  any  other  conventional  window,  the 
trimmer  should  be  sure  that  the  tops  are  all  straight.  Those  that  are  flat  should  be  per- 
fectly horizontal  and  those  that  are  tilted  should  all  be  at  exactly  the  same  angle,  other- 
wise the  symmetrical  effect  will  be  ruined.  In  this  and  other  windows  that  are  similarly 
arranged  the   decorator   should  always   drape  the  rear   stands   first  and  the   front  ones  last. 

271 


How   TO   Lay   out   Complete   Windows 


WINDOW   PLAN    No.   3 

THE  stands  and  the  arrangement  illustrated  in  this  plan  give  a  remarkably  neat  and 
pleasing  effect.  The  sharp,  straight  edges  of  the  trough  stands  and  the  broad 
smooth  surfaces  serve  to  show  up  any  kind  of  goods  admirably.  This  arrange- 
ment is  excellent  for  a  small  window  and  it  is  equally  adapted  to  a  large  one.  If  the 
window  is  very  large  and  deep,  the  number  of  stands  can  be  increased  and  other  rows 
may  be  added  at  the  back.  In  case  three  or  four  rows  are  used,  the  back  ones  should  be 
increased  in  height  in  about  the  proportion  shown  in  the  drawing. 

The  arrangement  that  is  shown  here  is  adapted  either  to  a  sale  window  or  to  a  display 
of  novelties.  Drape  7  is  used  and  any  kind  of  material  can  be  shown.  Aside  from  double 
width  dress  goods  this  drape  is  particularly  suitable  for  challis,  flannels,  waistings  and 
all  other  single  width  goods.  The  front  stands  are  42  inches  high  and  those  at  the  back 
are  raised  by  means  of  boxes  to  a  height  of  67  inches. 

The  trimmings  for  this  window  will  be  governed  by  the  nature  of  the  goods  displayed. 
If  waistings  are  shown  the  trimmings  should  be  such  as  would  naturally  be  used  of  a 
waist.  Narrow  dark  velvet  ribbon  or  white  silk  braid,  etc.,  can  be  used  attractively.  It 
should  be  draped  across  from  stand  to  stand  with  long  loops  and  sweeps. 

In  Drape  7  is  fully  explained  how  this  stand  is  draped  with  both  wide  and  narrow 
goods.  In  that  chapter  will  also  be  found  many  suggestions  for  the  arrangement  of  the 
stand  in  the  window. 

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How   TO   Lay   out    Complete   Windows 


WINDOW   PLAN   No.  4 

EIGHT  drapes   are  shown   in  this  display  and  the  arrangement  is  designed  for  a  sale 
window  of  a  rather  stocky  character.     The   round  top  and  oval  stands  are  adapted 
to  the  display  of  broadcloths   or  other  heavy  goods  that  have  a  high  finish.      The 
curved  edges  of  the  stand  tops  make  the  goods  fall  in  rounded  even  folds  that  show  up 
the  sheen  of  the  material  admirably.     Of  course,  square  topped  stands  might  be  arranged 
in  the  same  manner. 

In  this  plan  the  front  row  of  stands  may  be  placed  so  the  uprights  are  about  24  inches 
from  the  front  glass.  The  stands  are  3i/2  feet  high.  The  rear  row  is  placed  close  to  the 
background  and  each  stand  is  directly  behind  the  corresponding  stand  in  the  front  row. 
The  two  stands  in  the  middle  row  are  half  way  between  those  in  the  front  and  back  rows. 
The  two  stands  in  the  middle  face  slightly  outward.  The  end  stands  in  the  back  row 
also  face  outward,  and  these  should  be  placed  at  the  same  angle.  The  back  stands  are 
7  feet  high  and  those  in  the  middle  are  5  feet. 

All  of  the  stands  in  this  window  are  dressed  with  variations  of  Drape  10.  Those  in 
the  front  row  are  covered  with  the  regular  Drape  10,  except  that  the  tops  are  flat  instead 
of  slanting.  The  appearance  of  the  flat  top  is  shown  in  Fig.  4,  Drape  10.  The  second 
row  stands  are  draped  in  the  same  manner  as  those  in  the  front  row  except  that  they 
have  the  sloping  top  as  illustrated  in  Drape  10. 

In  the  back  row  the  stands  may  be  dressed  with  Drape  10,  allowing  the  goods  to  fall 
almost  straight  to  the  floor  instead  of  spreading  out  in  wide  side  sweeps.  The  folds  of 
the  side  sweeps  may  be  brought  together  so  close  that  they,  in  connection  with  the  drapes 
in  the  middle  row,  will  cover  the  lower  part  of  the  stand  sufficiently  and  there  will  be 
need  of  forming  the  lower  part  of  the  drape  as  shown  in  Fig.  3,  Plate  10. 

A  still  easier  way  to  treat  the  stands  in  the  back  row  would  be  to  use  the  arrangement 
shown  in  Drape  3,  Fig.  2,  using  oval  top  stands  and  draping  the  goods  lengthwise  up  and 
down  the  stand.  With  this  drape,  very  little  arrangement  of  the  side  folds  will  be  required, 
as  they  drape  themselves  naturally  and  req.uire  only  a  little  smoothing  out  and  evening 
up.  The  stands  used  in  the  two  back  rows  of  this  plan  are  illustrated  in  Drape  10,  Fig.  1, 
18  273 


How   TO   Lay   out   Complete   Windows 


t»'?<»).Covian^ 


WINDOW   PLAN   No.   5 

THE  plan  shown  in  this  illustration  is  intended  for  a  sale  window  showing  practically 
any  kind  of  dress  goods.     The  stands  and  the  layout  are  practical  for  woolen  goods 
and  they  may  be  used  for  summer  fabrics.     In  the  latter  case  the  stands  should  first 
be  covered   with   white   cambric  or  muslin,   otherwise   the   dark   stand   will   give  a  muddy 
appearance  to  the  goods.     In  arranging  the  stands  be  careful  to  keep  both  the  back  and 
front  rows  in  straight  lines  and  to  place  the  stands  at  equal  distance  from  each  other. 

The  stand  used  in  the  front  row  is  3j^  feet  high  and  is  illustrated  in  Drape  2,  Fig.  1, 
All  the  stands  should  be  placed  at  the  angles  shown  in  the  drawing  on  the  opposite  page. 

The  stands  in  the  front  row  are  trimmed  with  Drape  2  done  over  a  stand  with  a 
sloping  top.  The  reason  for  the  slanting  top  is  to  make  it  correspond  with  the  rear  drapes, 
thus  obtaining  a  uniformity  of  lines  throughout  the  window.  The  sweeps  of  the  front  row 
of  drapes  are  arranged  as  shown  in  Plan  1.  In  the  back  row  Drape  C  as  illustrated  in  Fig.  2  is 
used,  leaving  off  the  rear  folds  and  sweeps,  which  would  crowd  the  window  too  much. 
The  side  sweeps  of  this  drape  arc  brought  down  rather  straight  and  are  not  allowed  to 
spread  out  on  the  floor  as  they  appear  in  drape  No.  6. 

The  trimmings  for  this  window  are  different  from  those  shown  in  the  regular  Drapes 
2  and  6.  They  should  consist  of  lace,  ribbon  or  braid,  etc.,  such  as  would  be  used  to 
trim  a  gown  made  from  the  material  used  to  drape  the  stands.  The  lace  or  ribbon  should 
be  looped  from  stand  to  stand  and  the  buttons  and  velvet  shown  in  Drapes  2  and  6  should 
be  omitted. 

In  a  window  of  this  kind  price  tickets  will  probably  be  used  and  they  should  all  be 
arranged  symmetrically.  If  the  goods  are  all  the  same  price,  one  large  card  in  the  middle 
of  the  window  will  be  sufficient.  It  should  be  a  tall  rather  narrow  card,  placed  inunc- 
diatcly  in  front  of  the  middle  drape.  If  the  goods  arc  of  various  prices,  place  the  card 
on  one  of  the  sweeps  that  faces  most  nearly  toward  the  front  and  on  each  of  the  othe- 
stands  place  a  card  in  an  exactly  corresponding  position. 

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WINDOW   PLAN    No.   6 

THIS   plan   shows   a  lesser  number  of  stands  than   any  of  the  preceding  ones.     While 
the    arrangement    is   conventional,   the   layout    is    well   adapted   to    a   special   display 
of  novelties  such  as  is  usually  made  at  the  beginning  of  the  season.     Three  distinct 
styles  of  draping  are  shown  and  they  are  chosen  because  of  their  harmonious  relation  to 
each  other. 

The  two  front  stands  are  the  42-inch  troughs  with  the  upright  sticks  shown  in  Drape 
9,  Fig.  1.  The  middle  stand  is  a  42-inch  plain  trough  stand  upon  a  15-inch  box.  The  rear 
stands  are  the  same  as  the  one  illustrated  in  Drape  3,  Fig.  1.  They  are  placed  at  a  height 
of  lyi  feet. 

The  tw,o  front  stands  are  dressed  with  Drape  9.  On  the  right  hand  stand  the  drape 
is  reversed  or  trimmed  on  the  opposite  side  of  the  stand  from  the  way  it  is  shown  in 
Drape  9.  The  middle  stand  is  trimmed  with  Drape  7,  the  front  sweeps  of  which  are  brought 
out  across  the  er.ds  of  the  sweeps  of  the  two  front  stands.  The  back  stands  are  dressed 
with  Drape  3. 

The  trimming  for  this  window  will  be  of  a  nature  suitable  to  the  goods  shown.  Rib- 
bons, laces,  braids,  etc.,  may  be  used,  being  draped  loosely  between  the  various  stands.  This 
makes  an  exceedingly  attractive  combination  of  drapes  to  be  used  in  either  a  large  window 
or  a  moderately  small  one.  The  drapes  fit  into  each  other  perfectly,  making  a  symmetrical 
and  graceful  effect  of  long  curves  relieved  by  the  sharp  square  lines  of  the  stands. 

In  the  place  showing  Drape  7,  it  is  pictured  with  a  silk  rosette,  but  this  should  be 
omitted  when  the  arrangement  illustrated  in  Plan  6  is  used  as  the  silk  rosette  is  more 
suitable  for  stockier  windows. 

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How    TO    Lay    out    Complete   Windows 


WINDOW   PLAN   No.   7 

THE  arrangement  illustrated  in  this  plan  is  one  that  may  be  termed  semi-conventional. 
While  the  stands  are  placed  symmetrically,  their  heights  vary  and  different  drapes 
are  shown  on  all  but  the  two  end  ones  at  the  back.     For  a  showing  of  novelties 
this  scheme  is  very  satisfactory. 

The  front  stand  at  the  right  is  5  feet  high  and  is  dressed  with  drape  6.  The  front 
stand  at  the  left  is  covered  with  Drape  2,  made  3J^  feet  high.  The  middle  stand  is  8^ 
feet  high,  Drape  1  being  used.  On  the  right  hand  stand  in  the  back  row  Drape  4  is  used, 
but  this  drape  must  be  arranged  in  a  slightly  different  manner  from  the  plate.  Instead 
of  spreading  out  the  front  sweeps  as  the  illustration  of  Drape  4  shown,  they  must  be 
brought  quite  close  together  and  should  extend  together  to  the  right  front  corner  of  the 
window.  This  drape  is  about  7  feet  high.  The  drape  at  the  left  in  the  back  row  is  6 
feet  high.  It  is  Drape  4  except  that  it  is  reversed.  In  this  drape,  too,  the  front  sweeps 
are  brought  close  together  to  avoid  interfering  with  the  drape  in  front. 

The  arrangement  of  this  plan  shows  how  well  adapted  this  style  of  draping  is  to  win- 
dows of  any  size.  Here  is  a  window  of  medium  size  and  in  it  are  placed  five  large  drapes, 
yet  the  sweeps  fit  into  each  other  in  such  a  manner  that  each  piece  shows  up  well  and 
the  window  does  not  appear  overcrowded. 

No  general  rule  can  be  laid  down  for  the  trimmings  to  be  used  on  this  combination 
of  drapes,  as  that  depends  entirely  upon  the  nature  of  the  goods  displayed.  For  fall  or 
winter  goods  velvet  rilibon  in  two  shades  would  make  a  pleasing  effect. 

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How    TO    Lay    out    Compli:tf    Windows 


WINDOW   PLAN    No.    8 

IN  MOST  of  the  plans  that  have  been  described  heretofore,  the  middle  drapes  have  been 
low  and  those  at  the  back  have  been  high.    In  this  plan  the  highest  drape  is  placed  in 

the  middle. 

The  middle  stand  in  the  drawing  appears  to  be  in  front  of  the  window,  but  it  should 
be  placed  exactly  in  the  center  of  the  floor.  It  is  eight  feet  high  and  is  trimmed  with  Drape 
1,  the  four  sweeps  of  which  extend  from  the  middle  in  the  direction  of  the  four  corners 
of  the  window. 

The  shell  forms  may  be  dressed  with  any  of  the  form  drapes  that  are  illustrated  in 
this  book.  The  trains  or  rear  sweeps  of  the  two  front  drapes  should  extend  diagonally 
back  behind  the  front  sweeps  of  the  middle  stand. 

The  back  stands  are  covered  with  Drape  3.  The  one  at  the  right  is  the  regular  drape 
and  the  one  at  the  left  is  the  regular  drape  reversed.  This  leaves  a  considerable  vacancy 
at  the  middle  of  the  background  and  to  remedy  this  the  rear  sweeps  of  the  two  back 
forms  are  draped  up  to  the  middle  of  the  top  of  the  l)ackground  instead  of  being  arranged 
on  the  floor. 

This  is  done  by  taking  the  rear  left  hand  sweep  of  the  right  hand  stand  and  pinning 
it  to  the  middle  of  the  top  of  the  background.  Then  take  the  corresponding  sweep  of  the 
left  hand  stand  and  pin  at  the  same  point.  Allow  plenty  of  goods  to  make  generous  loops 
and  arrange  the  goods  that  fall  from  the  point  where  the  pin  is  placed  to  fall  in  uniform, 
even  folds.    This  will  make  a  symmetrical  and  pleasing  arrangement. 

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How    TO    Lay    out    Compli:ti-:    Windows 


ii 


I  i^^-^ 


<i<<?.^.Cov<»n| 


WINDOW   PLAN    No.   9 

THIS  layout  is  similar  in  arrangement  to  the  one  just  described  except  that  the  stand  in 
the  middle  is  low  instead  of  high.  This  makes  a  very  good  plan  for  showing  any 
kind  of  novelties. 
The  middle  stand  is  placed  slightly  in  front  of  the  center  of  the  window.  It  is  3H 
feet  high  and  is  covered  with  Drape  2.  The  two  shell  forms  in  front  may  be  dressed  ac- 
cording to  the  taste  of  the  decorator  with  any  of  the  drapes  that  we  describe.  The  stands 
at  the  back  arc  placed  at  a  height  of  7  feet  and  are  dressed  with  Drape  4.  The  left  hand 
rear  sweep  of  the  right  hand  stand  is  looped  up  in  a  half  circle  to  the  middle  of  the  top 
of  the  background.  Before  beginning  to  make  the  loop  the  sweep  will  have  to  be  caught 
up  at  the  back  of  the  stand  and  pinned  in  a  small  loop  in  order  to  give  the  large  loop  the 
proper  start.  The  small  loop  is  concealed  from  sight.  The  corresponding  sweep  on  the 
opposite  stand  is  treated  in  the  same  manner,  and  the  goods  that  fall  from  the  point 
where  it  is  pinned  are  arranged  in  smooth  even  folds.  As  this  is  a  conventional  arrangement, 
the  loops  that  arc  pinned  to  tlie  background  should  be  arranged  so  the  two  sides  are 
uniform  and  even. 

In  arranging  the  sweeps  of  tlic  various  drapes  in  this  display  the  trimmer  will 
have  to  be  governed  by  the  size  of  the  window  and  the  position  of  the  middle  stand.  If  the 
window  is  a  large  one,  the  sweeps  will  take  care  of  themselves,  l)ut  if  the  window  is  small, 
the  middle  si  and  will  have  to  be  placed  back  in  such  a  position  that  the  sweeps  of  the 
drape  form  lit  in  between  the  sweeps  of  the  middle  stand,  or  it  may  be  placed  farther 
forward  so  tlie  sweeps  of  the  drape  form  pass  entirely  behind  it. 

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WINDOW  PLAN   No.   10 

HERE  is  an  unconventional  arrangement  that  makes  a  pleasing  effect.  It  is  suitable 
for  showing  novelties  in  dress  goods  and  can  be  used  in  a  window  of  almost  any 
size  or  shape.  The  draping  form  at  the  left  is  covered  with  any  of  the  drapes  shown 
in  this  book.  The  five  stands  at  the  right  are  all  in  different  heights,  varying  from  8>4 
feet  at  the  back  to  4  feet  in  front.     They  are  covered  with  Drape  1. 

This  arrangement  gives  a  good  opportunity  to  work  at  a  striking  color  effect.  The  goods 
may  all  be  in  one  color  or  the  patterns  may  be  different,  according  to  circumstances.  If 
one  color  is  used— red,  for  example— the  darkest  shades  are  used  on  the  draping  form  and 
the  two  front  stands,  while  the  lighter,  stronger  tones  are  used  at  the  back.  Very  little  trim- 
ming need  be  used  in  this  window.  A  display  of  this  kind  can  be  put  in  very  quickly,  as 
the  drapes  require  little  time  in  the  making. 

This  arrangement  is  recommended  for  delicate  goods  that  require  careful  handling. 
There  is  only  one  pin  used  on  each  stand  in  making  the  drapes  and  if  Drape  9  is  used  only  a 
few  pins  will  be  required.  For  a  showing  of  very  high-class  goods,  three  stands,  instead 
of  five,  should  be  used. 


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WINDOW   PLAN   No.   11 

THIS  plan   is  intended  particularly  for  fall  and  winter  goods.     There  are  only  three 
drapes  used  but  they  are  large  ones  and  will  fill  the  window  effectively.     The  stand 
at  the  left  is  G  feet  high  and  is  dressed  with  Drape  4.     The  middle  stand  is  placed 
at  a  height  of  8  feet  and  is  covered  with  Drape  5.     At  the  right  Drape  4  is  used  over  a 
stand  7  feet  high.    This  would  make  an  excellent  arrangement  for  one  of  a  series  of  dis- 
plays at  the  beginning  of  the  season. 

An  unconventional  arrangement  is  much  more  difificult,  or  rather  it  requires  a  much 
higher  artistic  sense  than  a  conventional  one,  as  no  rules  or  measurements  can  be  called 
to  the  aid  of  the  decorator.  He  must  be  governed  entirely  by  his  eye  and  his  artistic  sensi- 
bility, hence  there  are  greater  opportunities  to  make  mistakes.  The  unconventional 
arrangements  that  appear  in  this  series  of  plans  should  help  the  student  tiO  originate 
arrangements  of  his  own  that  are  equally  pleasing. 

Of  course,  such  a  layout  as  this  would  not  be  suitable  for  a  sale  window.  There  are 
many  merchants  who  would  not  permit  their  windows  to  be  dressed  with  only  three  pieces 
of  goods.  There  are  occasions,  however,  when  this  is  advisable.  With  reference  to  this 
kind  of  displays,  one  frequently  hears  the  remark :  "That  sort  of  a  window  docs  very  well 
for  a  big  department  store  in  a  city,  but  it  would  be  no  good  for  my  store."  In  most  cases 
the  merchant  who  makes  that  kind  of  a  remark  is  wrong.  The  big  stores  in  the  cities  have 
reduced  window  dressing  to  a  science.  They  have  checked  up  results  and  have  found  that 
for  certain  occasions,  three  or  four  pieces  of  goods  in  a  window  will  yield  better  returns 
than  a  window  containing  several  times  as  many  pieces. 


How    TO    Lay    out    CoMi'Lirn:    Windows 


WINDOW   PLAN  No.   12 

FOR  broadcloths  and  other  goods  having  a  smooth  surface  and  no  pattern,  this  arrange- 
ment is  well  adapted.  The  drapes  show  off  the  texture  of  the  fabric  admirably.  The 
stand  in  frort  at  the  left  is  3><  feet  high  and  is  covered  with  Drape  2.  The  other 
stand  is  5  feet  high  and  on  it  is  used  Drape  6.  At  the  top  of  the  left  wall  Drape  5  is  used 
and  Drape  6  is  used  at  the  right  end  of  the  background.  The  sweeps  of  the  wall  drapes 
are  looped  up  on  the  background  and  side,  giving  the  window  a  sufficiently  full  appearance. 
For  a  series  of  windows  this  layout  is  a  good  one.  The  arrangement  can  be  varied  in 
each  window  sufficiently  to  avoid  the  effect  of  monotony.  In  each  window  of  the  series 
a  one  color  effect  should  be  maintained  and  the  colors  of  all  the  windows  should  be  selected 
to  harmonize  when  viewed  together.  If  broadcloths  are  shown  in  this  way  a  suitable  trim- 
ming would  be  furs,  buckles,  buttons,  etc.  Very  little  trimming  is  necessary.  Of  course, 
it  is  not  necessary  for  the  trimmer  to  follow  exactly  the  layout  shown  here.  He  may 
change  it  around  in  any  way  he  pleases  to  suit  the  size  and  the  shape  of  his  windows. 


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T 


WINDOW  PLAN   No.   13 
Arrangement  of  Fixtures 

HIS  is  a  rather  unconventional  layout,  using  a  wall  drape,  a  T-stand  drape,  and  a  scries 
of  four  bolt  drapes.  The  latter  can  be  made  by  unwinding  a  few  yards  from  the 
regular  full  bolts  and  draping  the  goods  in  a  semi-careless  fashion  around  the  bolt  in 
various  ways.  Or,  these  drapes  can  be  made  over  a  dummy  foundation  whicli  is  made 
out  of  wood  and  cardboard,  usually  in  exaggerated  size,  as  with  the  one  shown  on  the  table 
in  the  center  on  opposite  page.  This  bolt  is  42  inches  high,  22  inches  wide  and  8  inches 
thick.  The  idea  of  using  tables,  chairs,  etc.,  for  showing  these  bolt  drapes  is  being  used 
quite  extensively. 

As  is  clearly  shown  in  the  above  drawing  there  is  used  for  fixtures  a  table,  two 
pedestals  and  shelves,  a  tall  T-stand  and  a  square  top  fastened  just  above  the  background 
border. 

The  arrangement  of  every  one  of  these  fixtures  is  clearly  indicated  in  the  drawing 
in  order  that  you  may  more  clearly  realize  how  the  completed  window  looked  at  the  time 
the  trimmer  started  to  do  his  draping. 

The  pedestals  and  table  should  be  finished  off  in  the  same  colors  or  stain,  that  is,  they 
should  match  as  nearly  as  possible,  because  they  are  apt  to  have  certain  parts  of  the 
woodwork  show. 


How    TO    Lay    out    Complktk    Windows 


Courtesy   Arlington    Jlills. 


WINDOW   PLAN   No.  13 
Completed  Drapes 

IN  MAKING  the  drape  on  the  table,  the  dummy  bolt  is  first  covered  smooth  with  the 
goods.      Then   bring   the    goods    around    the   bolt    in    a   loop    across    the    front   and   up 

to  the  back.  Next  form  the  long  loop  that  drapes  over  the  edge  of  the  table,  then 
carry  around  the  back  and  let  the  end  come  out  in  a  long  sweep  on  the  floor. 

The  wall  drape  is  made  on  a  square  board  fixture,  15  inches  square  and  raised  about 
18  inches  above  the  top  of  the  background.  Bring  the  goods  up  from  the  floor  at  the  left 
and  form  a  loop  at  each  of  the  three  front  corners  of  the  board.  Then  drape  it  across  the 
background  to  a  point  on  the  border,  form  another  loop  here  then  in  a  long  sweep  out  toward 
the  front. 

The  T-stand  drape  in  the  corner  is  made  as  indicated.  Other  drapes  of  this  same  nature 
are  shown  elsewhere  in  this  book. 

Two  of  the  small  bolt  drapes  are  placed  on  18-inch  pedestals  at  the  sides,  with  24-inch 
slabs  for  foundation.  Only  a  few  yards  are  unrolled  for  each  of  the  drapes,  in  each 
case  making  the  drape  with  the  goods  in  the  double  fold. 

In  order  to  indicate  to  you  more  clearly  the  position  of  every  fold  and  drape  we  had 
a  light  background  painted  in  on  the  above  photograph,  even  painting  out  parts  of  table  and 
pedestals  as  they  were  dark  and  it  was  not  clear  just  where  the  goods  terminated. 

283 


How    TO    Lay    out    Completi-:    Windows 


Courtesy    Arlington    Mills. 


WINDOW  PLAN   No.   14 

Arrangement  of  Fixtures 

THIS  window  gives  a  good  suggestion  for  a  layout  using  one  style  of  stand  through- 
out.    In  this  case  the  stands  have  sloping  oval  tops,  each  18x10  inches  in  size.    Two 
of  these  arc  used  as  "wall  drapes"  the  fixture  being  fastened  directly  to  the  back- 
ground by  means  of  a  bracket.    In  arranging  a  window  of  this  kind,  the  heights  of  the  stands 
have  quite  a  little  to  do  in  getting  the  right  results.     The  wall  drapes  are  9  feet  high,  the 
center  is  7  feet  and  the  two  at  the  sides  are  each  5  feet  high. 

A  careful  study  of  the  drawing  will  show  how  each  stand  is  placed,  also  how  each 
top  is  faced.  By  facing  these  tops  in  different  directions  the  display  is  kept  from  being 
monotonous. 

This  is  a  particularly  good  arrangenicnt  to  use  in  a  window  having  a  mirror  back  as 
the  drapes  are  so  arranged  that  none  of  the  back  of  ihe  stands  will  be  reflected. 

Care  must  be  taken  in  windows  having  mirror  backs  tliat  the  back  of  tlie  drapes  are 
not  unsiglitly  and  ihat  the  stands  do  not  show. 


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WINDOW  PLAN    No,   14 
Completed  Drapes 

TO  MAKE  the  wall  drapes,  simply  start  the  end  of  the  goods  down  in  front  next  to 
the  side  wall.     Follow  this  up  to  the  top,  pin  selvage  on  the  cornice,  then  drape 
across  the  corner  and  over  the  top  of  the  oval.     Thence  in  a  long  sweep  down  to 
the  floor. 

The  stand  drapes  are  made  by  bringing  the  goods  up  from  the  floor  and  straight 
across  the  top  and  out  in  long  sweeps  to  the  sides.  Cover  the  base  of  the  stand  by  returning 
the  goods  underneath  and  pinning  up  on  standard,  then  spreading  out  smoothly  across  the 
base  of  the  stand. 

The  goods  hang  over  the  edge  of  the  ovals  in  simple  folds,  requiring  very  little  ar- 
ranging to  make  them  come  just  right.    Thus  the  layout  is  one  that  can  be  placed  quickly, 
and  as  there  is  but  one  pin  used  in  each  drape,  there  is  no  possibility  of  injury  to  the  goods. 
This   is   one  of  the  easiest  windows  that  it  is  possible  to  install  and   one   that  looks 
exceptionally  well  and  makes  a  big  showing  for  a  small  amount  of  goods. 

A  study  of  the  individual  drapes  in  the  front  part  of  the  book  will  of  course  make 
clear  to  you  all  the  minor  details  and  it  is  not  necessary  to  repeat  all  of  them  here. 

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WINDOW   PLAN   No.   15 
Arrangement  of  Fixtures 

THE  treatment  of  this  window  shows  a  balanced  layout,  using  two  T-stands,  two  half 
shell  forms  and  a  large  half  cylinder  top  fixture  in  the  center.     This  makes  a  good 
layout  for  a  well  filled  window  from  12  to  15  feet  wide  by  G  feet  deep. 
As  soon  as  the  average   window  trimmer  sees  this  window  layout  and  then  sees  the 
completed  window  on  the  opposite  page  his  lesson  is  practically  complete  and  he  will  be  able 
to  more  clearly  carry  out  the  idea. 

The  two  T-stands  have  a  cross  bar  at  tlie  top  about  four  inches  wide  instead  of  the 
one-inch   bar  commonly  associated  with   T-stands. 

The  stand  in  the  center  is  clearly  described  and  shown  several  times  in  this  book. 
The  shell  forms  should  be  of  the  very  latest  shape. 

Although  we  iiidicafc  this  arrangement  of  fixtures  for  the  completed  window  on  the 
opposite  page,  still  it  may  be  wise  lo  tell  you  that  this  same  arrangement  of  fixtures  can  be 
used  with  dii'ferent  drapes  and  will  give  you  a;i  entirely  new  idea,      iiy  il. 


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WINDOW   PLAN   No.   15 
Completed  Drapes 

THE  T-stands  drapes  are  very  simple.     Start  the  end  of  the  goods  on  the  floor  at  the 
base  of  the  stand,  and  carry  it  up  over  the  top,  spreading  out  smoothly.     Let  the 
goods  drop   straight  down   in  the  back,  then  bring  out  along  the  side   to  the   front. 
Then  carry  the  goods  up  to  the  end  of  the  T-stand,  and  loop  it  across  the  front  and  down 
to  the  floor  on  the  other  side  of  the  stand. 

The  sloping  cylinder  top  stand  in  the  center  is  draped  similar  to  the  T-stands  the 
main  difference  being  that,  in  bringing  up  the  goods  to  the  front,  from  the  floor,  the  selvage 
is  hung  over  the  rounded  end  of  the  stand,  instead  of  pinned  at  a  corner  as  with  the 
T-stand.  Three  loops  of  velvet  ribbon  in  different  lengths,  finished  with  a  buckle,  are 
used  for  trimmings. 

The  two  shell  forms  are  draped  as  indicated.  Notice  the  arrangement  of  the  skirt 
folds  so  that  those  of  one  form  come  in  front  ,of  those  of  another.  This  is  necessary  in  a 
small  window  in  order  to  get  the  long  sweeping  effect  desired. 

This  gives  a  fairly  well  filled  window  and  is  therefore  a  very  practical  display.  More 
goods  in  this  space  would  crowd  the  window,  wliercas  less  goods  would  make  more  of  an 
exclusive  window  that  would  have  to  depend  more  on  the  background  and  other  feature 
that  would  fill  up  space. 

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WINDOW  PLAN  No.   16 
Arrangement  of  Fixtures 

THIS  display  was  made  in  a  medium  sized  window,  10x6  feet,  using  but  three  drapes 
and  two  full  bolts.  The  background  was  a  flat  surface  or  heavy  velour  curtain 
bordered  with  papier-mache  design.  Displays  of  light  fabrics  should  always  have  a 
rather  dark  backing,  so  that,  wherever  the  regular  background  is  light  in  tone  some  provision 
should  be  made  for  a  temporary  covering  in  a  darker  color.  Various  inexpensive  curtain 
materials  may  be  used  for  this.  There  are  also  on  the  market  certain  wall  papers  tinted  in  a 
perfect  imitation  of  wood  grain  which  would  serve  excellently  for  such  a  backing. 

For  a  showing  of  dark  goods  a  light  background  is  generally  most  satisfactory. 

The  two  fixtures  in  the  back  are  known  as  slab  draping  stands  although  these  same 
drapes  can  be  made  over  cylinder  top  T-stands. 

The  stands  indicated  in  the  drawing  are  best  made  out  of  two  solid  pieces  of  wall  board 
for  both  front  and  back,  while  the  sides  can  also  be  filled  in  with  a  narrow  width  of  the  same 
material.    The  curved  top  can  be  made  by  bending  a  heavy  cardboard. 

The  arrangement  of  these  two  slab  draping  stands,  the  shell  form,  pedestal  and  vase 
are  all  clearly  indicated. 


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WINDOW   PLAN   No.    16 
Completed  Drapes 

IX  EACH  slab  drape  the  end  of  the  goods  is  started  at  the  base  and  front  of  the  stand, 
and  covers  the  front  of  the  stand  up  over  the  top.  Then  let  it  drop  down  to  the  floor 
in  the  back,  carry  it  out  to  the  front  and  thence  return  it  up  over  the  front  end  of 
the  stand.  In  the  drape  on  the  left  side,  the  end  of  the  goods  is  carried  up  to  the  side  wall 
forming  a  long  loop  across  the  front.  The  two  plaits  hanging  straight  down  on  the  back 
edge  of  the  stands  are  made  out  of  the  surplus  width  of  the  goods  not  used  in  cover- 
ing the  stands.  A  band  of  velvet  ribbon  is  slipped  under  the  edge  of  the  first  of  these  plaits. 
In  making  the  shell  form  drape  in  the  foreground,  the  end  is  started  at  the  top.  Fit 
smoothly  down  the  front  of  the  form  then  point  out  the  curve  of  the  waist  line  in  the  back. 
Next  bring  the  go,ods  out  in  front  on  the  floor  and  return  the  selvage  up  to  the  back  edge 
of  the  form  about  six  inches  down  from  the  waist  line.  From  this  point  drape  it  down  to 
the  floor  in  the  back,  then  change  the  selvage,  and  bring  up  in  a  long  sweep  to  the  top 
point  of  the  form. 

Arrange  the  folds  so  that  they  hang  in  long  graceful  sweeps  to  the  floor,  and  finish  with 
silk  fringe  trimming  as  shown  in  the  cut. 

Two  bolts  of  goods  placed  at  the  sides  of  the  window  and  the  use  of  several  show 
cards  complete    the  display. 

19  1  289 


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How   TO   Lay   out    Complete   Windows 


WINDOW   PLAN    No.   17 
Arrangement  of  Fixtures  and  Completed  Drapes 

HERE   wc   have   arranged   a   series   of   drapes   especially  good   for  ai  y   purijnsr.     These 
are  shown  in  our  illustration  on  opposite  page.     This  is  a  photograph  of  the  actual 
drapes   themselves.      The   pen-and-ink   sketch    shows    the    stands   on    which    to    make 
these  drapes. 

Stand  No.  1  is  a  plain  2x2  upright  with  a  square  base  and  a  board  on  the  top  three  inches 
wide  and  about  twenty-four  incb.es  long.  No.  2  is  a  papier-mache  form  and  shows  the  coat 
drape.  This  is  a  very  good  drape  and  can  be  changed  each  year  to  conform  with  the 
correct  style. 

This  drape  was  originated  by  Mr.  Albert  A.  Koester  and  is  one  of  the  series  of  very 
practical  drapes  that  have  been  used  a  good  deal.  The  next  drape  is  arranged  over  the 
stand  No.  3  with  a  tilted  circle  top.  This  is  an  extension  stand  and  can  be  raised  or  lowered 
to  any  height. 

The  next  two  drapes  are  draped  on  stands  4  and  5,  with  tops  similar  to  Xo.  1,  only 
tilted  as  shown  in  the  drawing.  No.  6  has  for  a  top  a  board  twenty  or  more  inches  long 
and  four  inches  wide.  This  board  is  tilted  forward  slightly.  The  half  form  No.  7  has  on 
it  an  entirely  different  drape  from  that  shown  on  No.  2.  This  drape  shows  off  the  goods 
as  effectively  as  any  drape  ever  devised. 

The  other  two  drapes  are  almost  self-explanatory — so  much  so  that  any  trinuner 
with  a  fair  knowledge  of  draping  can  adapt  them  to  his  use. 

Scattered  about  among  these  drapes  you  will  notice  a  few  hats,  purses  and  other 
accessories.  This  is  a  very  important  thing  in  a  window.  It  is  noticeal)le  that  those 
windows  that  have  accessories  that  match  up  with  the  goods  are  most  popular — most  at- 
tractive to  the  prospective  customers — and  productive  of  greater  results. 

The  first  four  drapes  will  in  reality  make  up  a  complete  display  for  a  medium  sized 
window.  A  dress  goods  window  with  just  about  four  drapes,  is  about  the  most  effective 
dress  goods  trim  you  could  install.  Tlic  other  five  drapes  also  make  up  a  good  layout  and 
arrangement  for  a  complete  window.  Our  illustration  really  shows  two  window  thrown 
into  one. 

All  the  drapes  in  the  photograph  were  made  by  Will  II.  Bates. 


291 


BACKGROUND   DRAPING 


Utilizing  Fabrics  on  Display  as  Part  or  Window  Background. 

FOR  a  change  why  not  make  the  entire  background  decoration  of  your  window  out  of 
the  fabrics  you  wish  to  display?  Or  you  can  use  such  a  fabric  background  for  a 
showing  of  suits,  or  other  garments  made  out  of  the  identical  fabric. 

This  surely  will  give  you  a  change  from  your  usual  run  of  windows,  and  this  fact  alone 
should  mean  that  it  will  attract  attention. 

A  window  or  windows  of  this  kind  will  be 
just  the  thing  for  the  trimmer  who  has  a  very 
small  appropriation  for  the  buying  of  window 
decorations. 

In  our  Fig.  1  we  show  one  of  the  series 
of  four  methods  of  making  these  fabric  back- 
grounds. This  particular  background  has  the 
goods  draped  from  a  nail  or  peg  about  twelve 
inches  from  the  upper  edge  of  the  background, 
the  pegs  being  from  thirty-six  to  forty-eight 
inches  apart,  depending  on  the  height  of  the 
window. 

The  goods  are  caught  over  these  pegs  as 
shown  and  finished  off  at  the  top  with  ribbons 
and  artificial  roses  or  flowers.  The  ribbons  run 
from  the  pegs  to  the  top  of  the  background  at 
a  point  midway  between  the  drapes  and  then 
down  again  to  the  next  peg.     Large  bows  arc 


Fig.  1 

made  in  the  ribl'on  where  it  is  fastened  to  the 
drapes  and  top  of  border. 

To  complete  this  window,  making  it  har- 
monize with  the  background  and  also  give  it 
a  stocky  effect,  one  can  place  a  series  of  pyra- 
mid drapes  throughout  the  window  as  indi- 
cated by  the  two  light-colored  drapes  in  the 
drawing.  These  drapes  are  the  simplest  that 
it  is  possil'le  to  make  as  they  are  simply 
draped  over  a  plain   upright  standard. 

In  our  Fig.  2  is  shown  the  simplest  method 
of  constructing  a  background,  that  is,  cover- 
ing tlie  rear  portion  of  the  window  with 
gathered  hangings.  In  this  window  the  hang- 
ings are  of  the  goods  displayed  and  the  border 
is  made  of  a  width  of  the  same  goods  in  a 
different  shade  or  color. 

On    this   border   is   worked   out    a  border 
design  by  means  of  some  of  the  various  trim- 
mings which  should  go  with  the  goods. 
292 


Fig.  2 


Background  Draping 


Remember  that  these  windows  are  intended 
more  for  the  stores  that  employ  trimmers  who  are 
handicapped  by  a  scarcity  of  window  fixtures  and  an 
appropriation  for  the  buying  of  decorations. 

The  day  of  the  window-trimming  fourflusher  is 
past.  The  man  that  can't  make  good  is  put  down 
and  out  in  the  first  round. 

In  Fig.  3  we  sliovv  a  background  idea  that  is 
very  similar  to  Fig.  4,  inasmuch  as  the  goods  are 
fastened  along  the  top  of  the  window  on  a  wire  or 
pole  and  the  goods  are  gathered  together  by  means 
of   ribbons. 

This  idea  is  especially  good  for  wash  goods  and 
silks,  for  the  reason  that  wash  goods  will  not  fall 
in  folds  as  shown  in  Fig.  4. 

This  background  is  cut  up  into  panels  by  means 
nf  strips  of  ribbon  or  embroideries,  three  strips  be- 
ing used  between  each  drape  of  goods. 

The  idea  shown  in  Fig.  4  is  very  clever.     The 

Fig.  3  best  way  to  do  this  is  to  run  a  curtain  pole  or  wire 

along  the  top  of  the  background,  on  which  to  drape  the  goods.     The  most  effective  way 

to   do  this   is  to   use  all  goods   of   one  color  or  the   same  goods  in   graduated   shades  of 

one  color. 

To  get  the  drapes  to  hang  straight  it  will  be  necessary  to  run  upright  strips  of  wood 
from  the  pole  or  wire  to  the  floor  so  that  the  goods  can  be  fastened  back  on  this  standard. 
Otherwise  the  drape  would  look  more  like  those  shown  in  Fig.  3.  The  arrangement  of 
the  ribbon  as  used  in  connection  with  this  idea  is  very  good. 


B\(.K(ilU)rM)     DuAl'INd 


294 


Background   Draping 


BACKGROUND  DRAPING 

An  Original  Window  Background  Idi;a  That  can  be  Utilized  at  Any  Time. 

WE  HERE  have  an  idea  for  a  window  backgronnd  that  can  1)c  used  not  only  for  a 
showing  of  oriental  wares,  bric-a-brac,  etc.,  but  can  be  used  for  almost  any  line  of 
merchandise.  It  would  look  well  for  a  showing  of  yard  goods,  as  well  as  for  a 
showing  of  garments.     One  can  use  all  of  this  design  or  part  of  it. 

The  border  is  a  wide  flat  surface,  covered  with  wreaths  of  artificial  foliage.  For  spring 
one  can  use  spring  flowers  and  green  leaves.     For  fall  one  can  use  autumn  leaves. 

A  circular  panel  is  fastened  to  the  border  and  supported  by  another  panel  which  has 
a  scroll  design  frame.  The  border  of  the  circle  and  frame  is  worked  out  in  detail  in  some 
repeat  design. 

The  center  of  the  circle  is  left  vacant  in  our  drawing  and  is  supposed  to  be  filled  with 
a  poster  that  either  illustrates  the  goods  on  display  or  is  typical  of  the  season  or  the  decora- 
tive scheme  of  the  window. 

The  lower  panel  contains  a  painted  scene  or  can  be  left  perfectly  plain. 

We  indicate  the  background  as  being  of  gathered  cloth.  This  really  is  a  drape  of  cloth 
that  makes  your  background. 

Next  we  indicate  a  drape  of  silk,  caught  up  at  the  base  of  each  wreath.  This  drape  is 
clearly  indicated  in  the  drawing  and  is  the  simplest  form  of  garland  drape. 

The  color  scheme  of  the  window  should  be  made  up  of  bright  reds,  yellows,  etc.,  if  it  is 
desired  to  have  a  bright  striking  background.  Other  colors  can  be  used,  appropriate  for  the 
season  in  which  the  display  appears. 


295 


DRAPING  FABRICS  IN   THE   STORE   INTERIOR 

Many  Helpful  Ideas. 

THE  ledge  in  the  store  is  not  trimmed  so  much  or  so  often  as  the  windows,  still,  when  a 
trim  is  desired  for  the  ledge,  it  is  important  that  you  know  what  to  do.    The  methods 
of  trimming  the  ledge  change  from  year  to  year,  and  vary  according  to  the  store  and  the 
trimmer.     Some  stores  want  a  heavy,  stocky  trim,  while  others  want  a  simple,  artistic  and 
high-class  bit  of  decoration. 

You  will  find  this  same  problem  in  connection  with 
Ihe  store's  windows  and  the  ledges  for  your  store  should 
be  trimmed  very  much  the  same  as  you  trim  your  win- 
dows. The  same  reasons  for  trimming  your  windows 
as  you  do,  will  enter  into  the  trimming  of  the  ledges. 

As  can  be  seen  in  the  illustration,  there  is  a  brass 
band  that  encircles  the  column,  and  to  this  band  is 
attached  several  real  large  brass  hooks,  over  which,  eacli 
morning,  can  be  thrown  different  pieces  of  new  and 
nobby  silks. 

This  method  of  showing  silks  is  dignified,  and  be- 
cause of  the  richness  of  the  fixtures  and  equipment 
needs  no  elaborate  draping.  This  method  does  not 
wrinkle  or  spoil  the  silk,  and  permits  it  to  be  taken 
down  each  night  and  an  entirely  new  silk  can  be  put  up 
the  next  morning. 

This  idea  could  also  be  used  in  the  dress  goods  de- 
partment for  the  showing  of  wool  or  wash  goods.  Sev- 
eral pieces  of  trimming  can  be  draped  over  the  goods 
on  display,  and  this  will  mean  extra  sales  for  both 
departments. 

This  fixture  can  be  made  by  any  fixture  house 
for  any  size  post.  It  can  be  furnished  either  in 
brass,    nickel     or    oxidized    finish. 

"\ 


a   hook    OK    store 


Drape    over 
post 

In  our  next  illustra- 
tion we  show  a  very  in- 
teresting wash  goods 
drape  placed  on  top  of 
the  low  center  shelving 
of  the  store.  This  drape 
as  illustrated  is  shown 
as  a  low  drape ;  it  can  be 
made   any   height. 

This  drape  is  simi- 
lar to  many  of  the 
drapes  shown  in  our 
chapter  on  "Later  Ex- 
amples of  Early  Drapes" 
and  you  can  readily  see 
that  many  other  drapes 
can  be  very  easily  adapt- 
ed to  use  on  this  low 
shelving  or  on  the  ledge. 


Clever  FuS  Drape  on   Top  of   Center   Shelving 
296 


Draping  Fabrics  in  the  Store  Interior 


A  WASH-GOODS    DISPLAY  TABLE 

IF   YOU   have  a   wide  aisle  in   the   wash-goods   section,   and  desire  to  use   it  to  the  best 
possible  advantage  in  selling  goods,  we  suggest  having  a  table  made  to  fill  the  space. 

This  table  is  to  be  made  with  shelves  underneath,  in  which  to  keep  stock,  and  the  top 
used  to  make  a  very  handsome  drape  of  wash  goods. 

Everyone  that  gets  any  place  near  the  table  is  so  impressed  with  the  imposing  drape  on 
top  that  they  walk  over  to  examine  the  goods.  The  clerk  in  attendance  finds  it  an  easy 
matter  to  interest  them  in  the  goods,  and,  when  he  finds  out  the  color  they  like,  he  pulls  it 
out  from  under  the  table  and  shows  it  to  them. 

The  drape  that  we  show  takes  up  quite  a  bit  of  room  on  the  table,  but  if  you  need  the 
top  on  which  to  show  the  bolts,  you  can  drape  the  standard  in  such  a  manner  that  you  will 
have  all  the  room  necessary. 

This  would  be  especially  good  for  a  sales  tabic  for  the  sale  of  cheap  silks,  all  kinds  of 
wash  goods  or  cheap  fabrics.  One  can  put  up  a  drape  of  the  goods  in  the  center  and  pile 
the  goods  around  it,  and  in  the  shelves  underneath.  The  sign  or  price  ticket  can  be  attached 
to  the  drape  of  goods,  on  several  sides,  thus  giving  it  much-  prominence. 

The  drape  is  made  on  a  common  wooden  upright  stand.  This  stand  is  generally  made 
of  a  2x2  upright,  nailed  to  a  square  base  made  of  an  inch  board.  Folds  of  the  goods  radiate 
from  the  top  of  stand  to  each  corner  of  the  table,  and  the  finish  at  the  top  consists  of  four 
or  more  loops  of  the  goods,  made  in  the  shape  of  puft's. 

The  table  can  be  made  by  any  local  carpenter,  and,  if  an  expensive  one  is  desired,  it  is 
best  to  make  it  of  soft  wood,  and  paint  or  stain  it  a  color  ,or  finish  to  harmonize  with  the  rest 
of  the  store  fixtures. 

297 


Draping  Fabrics  in  the  Store  Interior 


DRAPES  ON  TOWEL  RINGS 

IT  IS   really  surprising  the  many  uses  a  trimmer  can   find   for  his  fixtures.     It  is  also 
surprising  how  many  fixtures  can  be  made  out  of  things  about  the  store.    To  illustrate 

this  fact  it  will  only  be  necessary  for  you  to  read  this  article  on  how  to  use  the  common 
wooden  towel  ring  as  a  help  in  showing  goods.  These  rings  are  undoubtedly  carried  in 
your  own  store,  but  if  not,  can  be  procured  from  any  store  that  carries  five  and  ten  cent 
goods.  They  are  made  of  hard  wood,  and  have  a  very  high  finish  or  polish.  This  makes 
them  go  well  with  the  rest  of  the  woodwork  about  the  store,  in  fact,  you  may  be  able 
to  get  them  in  the  same  finish. 

This  is  a  handy  way  of  showing  new  novelties  or  special-sale  goods,  as  they  are  brought 
to  the  customer's  attention  very  prominently.  In  fact,  some  stores  have  a  series  of  these 
rings  over  their  entire 
length  of  dress  goods 
counters,  the  rings  being 
about  four  to  six  feet 
apart. 

About  all  one  can 
do  is  to  pull  the  goods 
through  the  ring  and  let 
them  hang  in  folds  or 
loops.  Our  Fig.  1  shows 
the  suspended  ring  and 
Figs.  2  and  3  show  dif- 
ferent styles  of  draping. 
No.  2  is  one  piece  of 
goods  in  one  ring,  while 
Fig.  3  shows  two  pieces 
of  goods  displayed.  It  is 
also  a  very  good  idea  to 
suspend  ribbons  or  laces 
over    the    draped    goods. 

It   not   only  adds   to   the    __^ 4Jt. 

beaut\'    of    tlie    display,  ^  ^ ^ 

hut    is    apt    to    sell    the 

trimming  as  well  as  the  dress  goods.  Silks,  velvets,  wool  goods,  and  wash  goods  show 
up  equally  well  when  draped  in  this  manner  and  therefore  these  rings  can  be  used  over 
counters  of  all  these   departments. 

After  using  these  drapes  for  awhile  it  is  best  to  climirate  them  and  then  spring  them 
again  in  several  months'  time.  They  will  then  attract  attention  again  and  have  an  added 
value  because  they  will 
by  that  time  look  new. 
In  displaying  merchan- 
dise it  is  always  best  to 
have  frequent  changes. 
This  is  very  apparent  in 
your  window  displays, 
and  of  course,  holds 
good  when  applied  to  in- 
terior displays. 

There    is    a    wooden 
towel    ring    that    has    an 
attachment  for  fastening 
it   to   the  wall,   as   is   il- 
lustrated   in    our   Fig.   4. 
This    drawing    shows    a 
side     view     of     it     and 
shows  a   series   of  three 
of    these    rings,   attached 
to  the  upper  part  of  the 
background  of  a  window. 
Through  these  rings  can  be  draped  yard 
goods    and    these    same    goods    can    be 
suspended    from    the    rings   and    draped 
to   the   floor  as   is   shown.     .\ny   iiuml)er   of   these 

2ns 


Draping  Fabrics  in  the  Store  Interior 


Fig.   1 

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Fig.  2 


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^^^^^^H                                4'^__L 

Bl 

Fig.  3 


EARLY   EXAM- 
PLES OF  LEDGE 
DRAPES 

IT  IS  interesting  to 
see    some    of    the 

earliest  draping 
ideas  carried  out  on 
ledges  and  to  compare 
them  with  the  work  of 
the  present  day. 

We  are  fortunate 
in  heing  able  to  show 
in  our  Fig.  1  a  ledge 
display  made  about  ten 
years  ago,  being  in  the 
puff  and  fan  drapes  so 
much  used  at  that 
time.  This  thsplay  is 
of  medium  priced 
ginghams  in  light  col- 
ors. 

In  Fig.  2  we  show 
a  style  of  trimming 
used  several  years  lat- 
er. The  only  part  of 
this  trim  that  looks 
old-fashioned  is  the 
two  wash  goods  drapes 
at  the  extreme  farther 
end   of  the   shelving. 

The  ledge  decora- 
tion is  very  good,  be- 
ing circular  frames, 
filled  in  with  light 
green  tarlatan  on 
which  was  pasted  a 
scroll  design  cut  from 
foil  paper.  Tiny  pink 
flowers  were  used  in 
this  decoration. 

Fig.  3  is  a  ledge 
trim  placed  in  1907  by 
.Mr.  Will  H.  Bates  and 
rei)resents  work  that 
would  be  a  credit  at 
the  present  day.  The 
decorative  pilasters 
with  the  draped  gar- 
lands of  foliage  make 
very  pleasing  frame- 
work for  the  drapes. 


299 


Draping  Fabrics  in  the  Store  Interior 


In   trimming   the  interior   of  the   store  and 
crncd  by  the   same   rules  of  display  that  he  m 
live  work  must  not  be  overdone  and  so  profuse 
Tlie   goods   shown   must   lie   well   placed,   nicely 
arranged    drapes     or 
groups    are    just    as    ef- 
fective as  a  great  stocky 
display  in  most  cases. 

You  have  this  also 
to  consider.  The  goods 
shown  in  the  store,  on 
the  ledges,  fixtures,  etc., 
if  left  up  for  any  length 
of  time  accumulate  quite 
a  coat  of  dust  and  dirt. 
Therefore  the  less  goods 
you  use,  the  less  the 
loss.  To  overcome  this 
loss  entirely  you  will 
have  to  change  your  dis- 
plays often  enough  so 
that  none  of  the  goods 
are  damaged. 


especially  the  ledge,  the  trimmer  is  gov- 
akes  use  of   in  the  window.     The  decora- 

that  it  takes  away  from  the  goods  shown, 
arranged   and   not   crowded.     A    few  nicely 


Fig.  i 


In  our  illustrations 
4  and  5,  we  show  ledge 
trims  having  as  decora- 
tions scroll  designs,  sim- 
ilar to  Fig.  3.  Our  Fig. 
0  is  decorated  in  cattails 
and  water  lilies  and 
scrolls.  These  scrolls  are 
very  neat  and  artistic, 
the  treatment  is  simple, 
yet  strong  and  attrac- 
tive. This  framework  is 
covered  with  a  brown 
canton  flannel  and  the 
panels  filled  with  a  pale 
yellow  tarlatan.  The 
cattails  are  made  by 
painting  the  stems  on  the 
l:iiial;ui,    an,l    [nr    li.-a.ls, 


pasting  on  cut  out  pieces 
of  brown  velvet  or 
plush.  These  heads  are 
touched  up  with  brown 
powder. 

Water  lilies  and 
pads  are  also  used  as 
decorations  in  this  trim, 
and  a  seaweed  effect  is 
produced  by  shredding 
long  strands  of  green 
crepe  tissue  paper.  Thus 
we  have  a  trim  that  is 
in  perfect  harmony,  as 
all  the  decorations  are 
associated  with  each  oth- 
er, as  cattails,  water 
lilies,  pads,  and  seaweed. 

You  will  notice  in 
I'"ig.  6  the  very  hand- 
some    drapes    of     dress 


300 


Fig.   6 


Draping  Fabrics  in  the  Store  Interior 


goods.  These  dress  goods  were  draped  over  stands  with  crescent  shaped  tops,  as  illus- 
trated elsewliere  in  this  book.  Notice  there  are  only  two  drapes  used  in  each  section  or 
division,  tluis  there  is  no  overcrowding  of  the  goods.  This  illustration  shows  you  how 
effective  is  this  style  of  decoration. 


Fig.  7 

Our  Fig.  7  shows  an  entirely  new  decoration  used  in  connection  with  yard  goods  drapes. 
The  decoration  is  a  combination  of  scroll  work  and  lattice.  The  scroll  work  is  used  to 
support  a  fancy  lattice  design,  in  the  center  of  which  is  an  oval  medallion  of  scenic  work. 


Fig.  8.      Ledge  Decoration  by  Durant  Merc, 


This  illustration  shows  a  very  neat  simple  scheme  of  decorating  the  ledge  above  the 
dress-goods  department.  If  more  stores  kept  their  side  walls  and  ledges  perfectly  clean  and 
kept  an  ever-changing  display  of  dress  goods  on  this  ledge  they  would  notice  a  healthy  in- 
crease in  the  sales  of  this  department.  Small  potted  palms  were  placed  between  each  drape, 
and  added  materially  to  the  decorative  effect. 

301 


Draping  Fabrics  in  tiik  Store  Interior 


Figs.  9  and  10. 


Interior  Ledge  Trims  by  Will  Bates  for  A. 


Livingston  &   Sons,  Bloomington,   Illinois 


This  is  not  as  heavy  a  trim  as  is  usually  used  ;  it  made  the  store  look  very  spring- 
like and  caused  much  favorable  comment.  Simply  a  peach  tree  in  full  bloom  alternating 
with  a  white  flower  box  mounted  on  a  stump  of  white  birch.  The  peach  trees  were 
al&o  made  out  of  the  branches  of  white  birch.  These  same  branches  and  flower  boxes  were 
used  around  the  posts  and  down  the  center  shelving. 

One  reason  that  many  merchants  are  more  willing  to  display  merchandise  on  the  ledge 
and  about  the  store  in  the  winter  is  because  there  is  not  so  much  dust  flying  into  the  store, 
and  therefore,  the  goods  are  not  so  apt  lo  lie  damaged. 

Then,  too,  there  is  not  so  mucli  lui^hl  sunlight  abroad  lo  get  into  the  store  and  fade 
some  of  the  fabrics. 

Naturally  you  will  want  to  show  seasonable  goods,  such  as  silks  and  wool  goods  in  the 
fall  and  winter  and  cotton  goods  in  summer.  The  same  reason  for  watching  the  season's 
in  your  windows  applies  to  your  interior  drapes. 

For  the  showing  of  dress  goods,  silks,  and  other  fine  yard  goods,  we  show  three  very 
good  photographs  of  neat  and  artistic  trims  in  our  Figs.  10,  11  and  12. 


You  will  want  to  sell 
as  many  yard  goods  as 
possible  always.  This 
can  be  done,  if  above  this 
department,  you  make  a 
good  showing  of  dress 
patterns.  This  can  be 
done  by  means  of  ledge 
displays,  above  the  de- 
partment, also  above  oth- 
er departments. 

Figs.  9  and  10  show 
two  views  of  a  hand- 
some ledge  trim  by  Will 
Bates  for  A.  Livingston 
&  Son,  Bloomington,  Il- 
linois. This  trim  has  a 
plain  background  against 
which  the  goods  have  a 
chance  to  show  up  well. 
The  trees  are  very 
dainty  and  another  dec- 
orative feature  is  the 
birch-bark  covered 
flow'er-box  fastened  on 
a  birch   stump. 

Fig.    11    is    a   ledge 
trim  by  Emil  Peterson 
for  Yetter  &  Waters  of 
Waterloo,  Iowa.     These 
your   attention. 


Fig.    11.     Fabric  Ledge  Display  by  Emil  Peterson,   Waterloo,   Iowa 


several   drapes   shown  in  the  photograph 


A  plain  wall  makes  the  best  kind  of  a  background  for  the  use  of  any  kind  of  d 
Being  plain  it  does  not  have  figures  that  are  apt  to  detract  from  the  goods. 


irc  well   worthy   of 
play. 


Fig.  12. 


Interior  Fabric  Display  by  E.  T. 
303 


Swank  for  Louis  BIsch  of  Crawfordsville,  Ind. 


Draping  Fabrics  in  the  Store  Interior 


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DiupiNG  Fabrics  in  the  Store  Interior 


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FoRKiGN    Draping 


EXAMPLES  OF  DRAPING  FROM  GERMANY 

FROM  Germany  come  some  very  good  ideas  for  the  draping  of  yard  goods.     We  show 
on  this  page  drapes  designed  by  a  German  trimmer  for  use  on  home-made  wooden 
fixtures. 
These  drapes  are  all  quite  different  from  the  drapes  in  vogue  at  present  in  this  country. 
However,  that  is  much  in  their  favor,  as  it  gives  you  something  absolutely  new  with  which 
to  attract  the  attention  of  the  public. 

The  first  drape,  the  one  shown  at  the  top  of 
this  page,  is  especially  clever,  as  it  simulates  the 
human  figure  to  some  extent.  The  stand  on  which 
the  goods  are  draped  is  simply  a  wooden  upright 
about  four  and  a  half  or  five  feet  high.  At  the  top 
is  a  cross-bar  about  twenty  inches  long.  Eighteen 
inches  below  the  top  is  a  cross-bar  about  twelve 
inches  long.  This  stand  is  indicated  at  one  side  of 
the  drape. 

The  way  the  goods  are  draped  on  this  stand 
makes  the  trim  look  like  a  gown.  The  drape  is 
very  easy  to  make,  being  nothing  more  than  drop- 
ping the  goods  over  the  top  in  gathered  folds.  The 
goods  are  then  fastened  to  the  twelve-inch  bar,  thus 
bringing  the  goods  in  at  the  point  that  corresponds 
to  the  waist  line  of  a  gown. 

An  overdrape  of  harmonizing  or  contrasting 
goods  is  draped  from  the  shoulder  (top  corner)  to 
the  opposite  side  of  drape,  at  the  waist  line  (twelve- 
inch  cross-bar).  A  bow  of  ribbon  is  fastened  at 
each  top  corner  and  a  rose  is  fastened  where  the 
overdrape  is  caught  up  at  the  waist  line.  The  illus- 
trations show  clearly  how  the  drape  looks  when 
done.  This  drape  is  especially  good  for  soft  mate- 
rials such  as  mulls,  challis,   rough  silks,   etc. 


Fig.  1 


rig.  2 


rig.  3 


Fig.  4 


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Foreign    Draping 


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rig.  10 


rig.   12 


FoRKiGN    Draping 


stand  over  which  a  fold  of  dress  goods  is  thrown.  Tlie  other  two  boxes  are  shown  at  the 
sides  of  tlic  window  and  hold  bowls  of  artificial  flowers  and  serve  as  stands  from  which 
dress  goods  arc  draped.  You  can  see  how  well  any  of  the  box  drapes  we  have  shown  can 
lit  in  here.     The  arrangement  of  goods  in  this  window  is  well  thought  out. 

The  first  drape  in  the  group  (Fig.  5)  is  that  of  bordered  fabric  thrown  over  a  pedestal 
or  stand,  al)out  four  feet  high.  This  pedestal  is  placed  on  top  of  a  six-inch  high  platform, 
covered  with  the  same  goods  as  cover  the  floor  window.  Then  the  double-width  bordered 
goods  are  draped  over  the  pedestal  so  that  the  lower  selvage,  containing  the  border,  just 
falls  nicely  on  top  of  the  six-inch  platform. 

Next  to  the  pedestal  drape  is  shown  a  double  drape,  or  two  forms  draped  exactly  alike, 
except  that  they  are  reversed    (Fig.  6). 

This  drape  is  very  similar  to  our  form  drape  Fig.  1,  except  that  the  goods  are  not 
drawn  in  the  center,  the  overdrape  being  held  up  by  ribbons.  The  garland  or  festoon 
of  artificial  flowers  draped  between  the  two  stands  is  a  very  pretty  decorative  effect. 

Our  next  drape  (Fig.  7)  is  very  similar  to  the  double  drape,  having  a  slightly  different 
way  to  arrange  the  goods.  Fancy  braid,  a  fan  and  rosette  of  ribbon  are  introduced  as 
trimmings. 

The  last  drape  (Fig.  8)  is  so  clearly  indicated  in  the  drawing  that  it  needs  no 
description. 

The  beauty  of  all  these  drapes  lies  not  only  in  the  graceful  draping  of  the  goods,  but 
in  the  ease  of  execution  and  inexpensiveness  of  the  fixtures,  all  of  them  being  nothing 
more  than  upright  stands,  with  cross  bars  at  the  top. 

We  show  in  the  pedestal  drape  a  very  tasty  way  of  introducing  accessories,  such  as  fans, 
slippers,  etc.,  in  a  cluster  of  artificial  flowers  arranged  on  the  floor  at  the  base  of  the  drapes. 

Too  few  trimmers  realize  what  good  fixtures  they  can  make  out  of  old  boxes  and  other 
things  that  they  have  at  their  command.  If  the  boxes  do  not  happen  to  be  just  of  the  size 
you  want  you  can  easily  use  the  lumber  in  them  for  making  boxes  of  the  right  dimensions. 

The  most  common  use  for  a  box  is  to  use  it  as  a  pedestal  on  wliich  to  show  goods 
or  decorations.  You  are  all  so  familiar  with  the  pedestal-and-shelf  arrangement  of  unit 
trims  that  we  will  show  the  box  used  in  other  connections;  for  with  the  shelf  the  box 
practically  does  not  show,  as  it  is  hidden  with  the  merchandise  trim. 

Figs.  9,  10  and  11  show  a  very  artistic  decorative  treatment  for  most  any  window. 
These  boxwood  trees  and  bouquets  make  very  effective  decorations  and  can  be  real  or 
artificial.  Our  idea  in  these  sketches  is  to  show  how  to  drape  the  boxes  on  which  the 
plants  or  flowers  are  shown.  Fig.  9  is  trimmed  with  ribbons  and  silk  as  is  also  Figs.  10 
and   11. 

Our  next  dress  goods  drape  is  shown  in  Fig.  12.  The  small  drawing  at  the  side  shows 
the  box  with  a  nickel  stand  on  top,  from  which  is  suspended  a  hoop.  The  completed  drawing 
shows  how  four  patterns  of  dress  goods  can  be  draped  from  this  hoop  to  the  floor. 

309 


Foreign    Draping 


UNUSUAL  GERMAN  DRAPES 

HERE  is  a  home-made  drapery  stand  that  looks  like  a  form.  This  is  the  idea  of  a 
German  trimmer.  Our  illustration  shows  just  how  it  is  done.  Fig.  1  shows  the 
upright  nickel  or  w,ooden  stand  (wooden  preferred),  with  the  three  cross-pieces 
at  the  top.  The  top  cross-piece  is  the  width  of  the  collar,  the  next  cross-piece  is  for  the 
bust,  and  the  next  for  the  waist  line.  The  cross-piece  that  is  used  for  the  waist  line  has  a 
slight  dip  to  it.  The  wooden  stand  is  preferred  because  you  can  more  easily  fasten  the 
cross-pieces  to  it. 

The  drape  is  started  at  the   top  of  stand,   as  shown  in  Fig.  2,  enough  goods  being 
allowed  at  top  to  fasten  in  the  shape  of  a  collar.     The  goods  are  stretched  out  over  the 


bust  line  and  gathered  in  at  the  waist  line,  then  dropped  to  the  floor  and  up  again  to  the 
back  of  waist  line,  as  indicated  by  the  arrows  in  Fig.  2. 

The  next  drawing.  Fig.  3,  shows  the  complete  drape,  with  the  goods  nicely  placed  to 
simulate,  as  near  as  possible,  a  full  figure.  A  belt  is  fastened  about  the  waist  and  a  parasol 
displayed  at  one  side  of  the  drape. 

We  do  not  think  much  of  the  man's  straw  hat  used  to  finish  the  top  of  the  drape. 

In  Figs.  5  and  G  we  have  something  new  in  the  way  of  a  papier-mache  draping  form 
devised  by  a  German  trimmer. 

One  can  never  tell  what  will  be  seen  next  in  the  window  trimming  world.  Some  of 
the  new  ideas  are  very  clever  and  practical,  others  may  be  odd  enough  to  attract  some 
attention,  but  are  not  of  any  permanent  value. 

The  latest  wrinkle  that  we  have  run  across  in  the 
papier-mache  form  line,  is  the  one  illustrated  herewith. 
This  is  nothing  more  nor  less  than  half  of  a  full  figure 
with  the  upper  part  lifted  about  eighteen  inches  from 
the  floor.     Thus  the  form  is  posed  at  an  angle. 

The  entire  garment  is 
draped  on  the  form,  one 
arm  of  the  waist  having 
been  slipped  over  the 
wooden  support  that  / 
holds  the  form  up  from 
the  floor. 

The  one  cut  shows  the 
undraped  form  and  the 
support,  while  the  other 
drawing  shows  a  gown 
draped  on  the  form,  the 
sleeve  of  which  covers 
the  support. 

At   first  glance   this 
seems  like  a  rather  peculiar  way  of  showing  a  garment.   Iiccause  it   shows  it   m   such   an 
unusual  manner.     It  is  generally  supposed  best  to  sliow  a  garment  in  a  way  that  approaches 
as  near  as  possible  its  actual  appearance  when  worn.^   About  the  only  thing  that  we  can 
think  of  that  would  be  worn  in  this  position  is  a  lounging  robe. 

If  any  of  our  American  trimmers  feel  like  trying  this  drape  they  can  do  so  by  simply 
using  their  half-form  draping  forms. 

310 


rig.  6 


Foreign   Draping 


COMPLETELY  DRAPED  GERMAN  WINDOWS 


THERE  arc  many 
stores  that  do  not 
have  a  complete 
assortment  of  window 
fixtures.  There  are 
stores  with  only  two 
small  windows.  There 
are  stores  without  a  real 
window  trimmer. 

Stores  of  this  kind 
cannot  hope  to  put  in  the 
elaborate  dress  goods 
drapes  and  displays  they 
might  like  to.  Still  they 
can  put  in  very  neat, 
tasty  displays  that  will 
add  materially  to  the 
looks  of  the  store  and 
the  sale  of  the  goods. 

These  fully  draped 
windows  designed  by  a 
German  trimmer  suggest 
some  very  good  ways  of  trimming  small  windows. 

In  Fig.  1  we  show  a  simple  arrangement  of  four 
wooden   stands.     This  makes   a  neat,  stocky,  business- 


Fig.  2 


311 


Fig.  1 


pieces  of  yard  goods  on  home-made 
like  trim,  and  is  adaptable  not  only 
for  the  better  goods,  but 
can  be  used  for  the 
showing  of  the  cheapest 
wash  goods,  such  as  cal- 
icoes and  lawns. 

Next  we  show  in  Fig. 
2  how  to  drape  six 
pieces  of  goods  on  the 
sides  and  background  of 
the  window.  Wooden  or 
metal  arms  are  fastened 
at  the  top  of  the  win- 
dow as  shown,  and  the 
goods  draped  in  simple 
folds  to  the  floor.  A 
pedestal  or  table  is  placed 
in  the  center  of  the  win- 
dow, holding  some  sort 
of  floral  decoration.  The 
ends  of  the  goods  are 
draped  over  the  floor 
and  over  three  boxes  of 
different    heights    that 


F()hi;kin    Dhaimng 


lift   the    goods    from   the 
floor. 

Our  Fig.  3  shows  an- 
other complete  window 
trim  with  the  dress  goods 
draped  in  the  same  man- 
ner as  in  Fig.  2,  only 
spread  out  a  little  more 
and  not  brought  out  on 
the  floor  so  much.  The 
floor  can  be  reserved  for 
the  display  of  other 
pieces  of  yard  goods, 
and  in  an  arrangement 
similar  to  our  Fig.  1,  or 
can  be  given  over  to  the 
display  of  some  other 
line,  such  as  fancy  para- 
sols (as  shown  in  the 
drawing),  or  other  goods 
that  go  well  together  or 
^^^-  ^  are  accessories. 

Our  window,  Fig.  4,  was  designed  for  use  at  Easter  time  but,  of  course,  could  be  used 

any  time  of  the  year  by  leaving  out  the  rabbits,  chariot,  eggs,  etc. 

The  entire  layout  of  the  window  is  so  well  done  and  the  Easter  idea  is  so  cleverly 

introduced  that  we  feel  certain  many  American  trimmers  can  get  some  good  out  of  the  idea. 
Aside    from  the    good   that   you    can    get   out   of    seeing   different    decorative    ideas    in 

windpws     there     is     the 

pleasure   of  seeing  what 

other    people    are    doing 

in  your  line  of  endeavor. 

To  the  window  trimmer 

there   is  some   good  and 

much    of    interest    in 

everything  he  sees. 

We  show  next  in  our 

illustration      No.      5      a 

grouping  of  dress  goods 

in    conjunction    with   ar- 
tificial   flowers.      In    the 

center    is   a     pyramid 

drape  finished  at  the  top 

with  a  fan-shape  cluster 

of  puffs,  in  the  center  of 

which  is  fastened  a  husc 

bouquet     of     artificial 

flowers. 

This  drape  is  flanked 

on   either   side   with   tall 


Foreign    Dhaping 


drapes  finished  at  the  top  with  small  clusters  of  flowers.  Several  tall  vases  are  also  intro- 
duced in  the  -window,  filled  with  large  bouquets.  Notice  carefully  the  different  drapes. 
There  are  some  of  them  that  will  probably  be  new  to  you. 

From  the  German  paper  "Der  Shaufenstcr"  we  ()l)taincd  the  design  shown  in  our 
Fig.  6.  This  window  has  a  very  light  lattice-work  tlirown  r.round  the  border  and  on  to]) 
of  background,  as  a  dec- 
oration. Through  tlie 
central  arch  is  built  a 
series  of  three  steps.  On 
the  lower  step  or  plat- 
form is  posed  a  wax 
figure  completely  outfit- 
ted with  hat,  gown, 
gloves,  purse,  etc.  Two 
tall  drapes  of  dress 
goods  are  shown,  fin- 
ished at  the  top  with 
huge  bouquets  of  flow- 
ers. This  sort  of  drape 
would  look  strange  in 
an  American   window. 

A  small  table  or 
stand  is  placed  in  one 
corner  and  has,  besides 
the  vase  of  flowers,  such 
articles  as  parasol  and  gloves  thrown  on  it.  A  piece  of  dress  goods  is  draped  around 
one  leg  and  over  the  floor. 

Hats,   waists,    ribbons,   veils,   parasols,   and   dress   goods,   all   displayed   in  an   ingenious 
manner,  complete   this  interesting  window. 


Fig.  5 


Foreign    Draping 


Fig.  1.    Fabric  Display  Made  in  1910  by  Seidenhaus,  Michels  &  Co.,  Berlin,  Germany 

This  is  one  of  the  windows  entered  in  a  window  trimming  contest  held  in  Berlin. 
Notice  the  beautifully  carved  woodwork  on  the  permanent  background.  The  arrangement 
of  the  drapes  is  exceptionally  well  done,  each  piece  showing  up  to  advantage. 


Fig.  2.    Silk  Display  Made  in  1910  by  Seidenhaus,  Michels  &  Co.,  Berlin,  Germany 

This  window  is  a  companion  window  to  the  one  shown  above.  The  background  has 
been  covered  with  gathered  velvets  and  two  silk  drapes  are  placed  in  the  corners.  The 
center  of  the  window  is  taken  up  with  a  draping  of  several  pieces  of  silk  over  a  tall 
pedestal  and  through   a  taljourct.     The  pedestal  and  tabouret  arc  very  elaborately  carved. 

314 


F()hp:ign  Draping 


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SIS 


Foreign    Draping 


EXAMPLES  OF  DRAPING  FROM  ENGLAND 

W]".  NOW  show  several  ideas  taken  from  England.  Our  Fig.  1  shows  a  clever  way 
of  displaying  water-proof  cloth,  as  a  demonstration  of  the  actual  water-proof 
quality  ,oi  the  cloth  you  are  selling,  you  could  not  have  a  much  better  arrangement, 

while  if  any  water  should  accidentally  soak  through   (which  it  ought  not  to),  it  is  not  seen 

ly  the   interested  public. 

The  way  to  arrange  is  over  a   rough  frame  of   lumlier,  or  even  a  deep  box  lid.     The 

lay  figure  is  dressed  in 
an  ulster  and  cap,  as 
shown,  seated  upon  three 
or  four  bales  of  the 
cloth.  The  balance  of 
window  should  be  ar- 
ranged neatly  with  the 
usual  drapes  and  price- 
cards.  A  cheap  fishing 
rod  is  all  that  is  neces- 
sary, equipped  with  line 
and  a  large  float,  and  if 
you  could  make  your 
artificial  pond  deep 
enough,  a  few  small  live 
gold-fish,  or  even  tin  toy 
ones,  would  lend  very 
greatly  to  the  attraction. 
When  posing  the  fig- 
attempt   anything  out  of 


Fig    1.     Display  of  Bain-proof  Cloth 
ure,   be   sure  and   arrange  it  as  naturally   as  possible 


Do  not 

the  ordinary,  as  the  whole  point  of  the  window  lies  in  the  exhibition  of  rain-proof  cloth. 
If  you  could  arrange  for  a  little  trickle  of  water  from  the  ceiling  into  the  pond,  it  would 
also    add    to    the    effect. 

The  only  show-card 
we  recommend  in  front 
of  the  pond  is  one  with 
the  words  "Real  Rain- 
proof Cloth."  Any  other 
show  card  used  should 
be  placed  by  the  cloth 
on  which  the  figure  is 
seated,  and  should  con- 
tain eloquent,  well- 
worded  details  of  style 
and  prices  of  the  goods 
you  make  from  this  rain- 
proof cloth. 

In  Fig.  2  we  show 
rather  an  elaborate  idea 
for  a  window.  There 
are  some  good  things  in 
this  display  and  some- 
one may  be   able  to  use 


FoHKiGN    Draping 


them  with  profit.  The  terrace  steps  are  of  lumber,  covered  flat  with  white  goods.  Suppose 
this  is  to  be  a  display  of  white  goods — you  can  then  make  the  steps  of  whole  bolts  of  muslin. 
The  posts  can  be  topped  with  folded  bolts  of  muslin,  or  made  entirely  of  bolts  of  wide 
sheeting. 

The  spindles  of  the  railings  can  be  of  box-fold  goods,  such  as  India  linens,  lawns,  etc. 

For  the  lake  lay  a  mirror  on  the  floor,  and  for  the  water  lilies  shape  a  handkerchief 
or  doily.  The  leaves  for  same  can  be  of  cardboard,  cut  out  to  suitable  shape,  and  covered 
with  an  art  shade,  green  denim  or  other  material. 


Fig.   3.     Yard   Goods  Drapes  for   Selfridge's,  London 


The  swans  are  made  of  cardboard  or  wood  skeleton,  to  shape.  For  neck  cut  out 
shape  in  flat  cardboard  and  pad  on  either  side  with  soft  paper,  to  get  the  roundness  of 
neck;  cover  the  whole  with  lemon  paper  or  sateen,  over  which  place  crochet  doilies  or 
handkerchiefs.     Black  buttons  will  form  eyes. 

Our  Fig.  3  shows  a  type  of  draping  used  by  the  Selfridge  store  in  London.  This 
draping  was  done  by  'Sir.  Edward  N.  Goldsman,  an  American  window  trinnner,  who  has 
had  charge   of  Selfridge's   window   displays  ever   since  the   store   started. 

There  is  quite  a  variety  of  drapes  in  this  window  and  the  accessories,  such  as  hats, 
shoes,  parasols,  feathers,  etc.,  are  well  placed. 

317 


318 


FoHHiGN    Draping 


EXAMPLES  OF  DRAPING  FROM  AUSTRALIA 

THE  illustrations  on  this  page  show  special  drapes  of  dress  goods  that  were  made  over 
fixtures   of   his   own   making   by   a   window   trimmer  in    Sydney,   Australia.     While 
both  of  these  drapes  are  out  of  the  ordinary,  they  are  simple  and  easily  made. 
The  first  one  is  made  around  cores  upon  which  linoleum  is  wound.     The  cores  were 
cut  in  different   lengths ;   then   the  material   was   wrapped  around   them  smoothly  and  the 
ends  were  arranged  in  little 
side  sweeps  as  shown  in  the 
illustration.     The   trimming 
consisted   of   narrow   velvet 
ribbon.     The   second  figure 
was  made  over  a  tall,  square 
box-like    fixture    having    a 
plain  square  base.  This  was 
first  covered  with  heavy  pa- 
per   put    on    smoothly    and 
then  the  draping  was  done 
as  shown  in  the  illustration. 
An    almost    endless    variety 
of  fixtures  can  be  made  on 
the    same    general    principle 
of  those  shown  here. 

These  draping  stands  will 
suggest  good  foundations 
for  use  in  developing  many 
of  the  drapes  in  our  lessons 
in  this  book. 


The  idea  suggested  in  the 
first  drape  of  having  two 
stands  of  unequal  heights 
on  which  to  arrange  a 
drape  can  be  carried  out  in 
many  different   ways. 

The  great  number  of  dif- 
ferent drapes  shown  in  this 
book  are  only  a  few  of  the 
many  that  can  really  be  de- 
veloped. In  fact,  each  one 
that  is  shown  here  will  sug- 
gest several  others  and  mul- 
tiply every  drape  we  show 
by  three  or  four,  and  you 
will  get  some  idea  of  the 
possibilities  in  the  way  of 
variety  in  draping. 


319 


Foreign    Dhaimng 


EXAMPLES  OF  DRAPING  FROM  DENMARK 

THE   window-trimming   work   done   in    foreign   countries   always    contains    some   things 
of  interest  to  the  trimmers  here  in  America.     We  are   fortunate  in  being  able  to 
reproduce  these  photographs  of  some  Danish  windows. 
These  photos  were  obtained  from  a  window  trimmer  in  Copenhagen,  Denmark.     What 
he  says  in  regard  to  window  trimming  in  Denmark,  is  interesting.     He  says : 

"In  the  better  stores  the  windows  are  well  built  and  of  good  size,  thus  enabling  the 
trimmer  to  put  in  really  comprehensive  displays. 


Fig.  1 

"In  the  smaller  stores  the  windows  are  suiall  and  inu^t.  trimmers  make  it  a  point 
to  crowd  the  windows  with  an  assortment  of  almost  everything  in  the  store.  This  is  a 
very  common  fault  in  almost  every  country." 

In  Fig.  1  is  shown  a  symmetrical  and  pleasing  display  of  wash  goods.  This  is  a  type 
of  display  that  was  quite  the  thing  here  in  this  country  some  years  ago  and  many  trimmers 
still  crowd  in  set  displays  of  wash  goods  similar  to  this. 

Fig.  2  is  very  interesting  as  it  shows  a  series  of  dress  goods  drapes  that  were  quite 
common  here  in  America  and  also  in  Germany  some  years  ago.  As  an  example  of  this 
style  of  draping  we  must  admit  that  this  window  is  very  good. 

Notice  the  ceiling  in  this  store.  It  is  made  of  diamond-shaped  sheets  of  pure  white 
glass,  the  panes  being  held  together  by  means  of  narrow  metal  molding. 


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COMPLETE    WINDOW    TRIMS 
A  FEW  EXAMPLES  OF  EARLY  DRAPING 


Window  No. 

A  wash  goods  dis- 
play against  a  mirror 
background  bordered 
with  gathered  tarla- 
tan and  decorated 
with  artificial  holly- 
hock fastened  along 
tlie  base  of  the  back- 
ground. 


A  wash  goods  dis- 
play with  a  back- 
ground of  gathered 
or  plaited  plush  bor- 
dered at  the  top  with 
a  darker  color  and 
decorated  with  a  tall 
narrow  panel  filled  in 
with  tarlatan  o  n 
which  was  a  plastic 
design   of  flowers. 


Window  No.  3. 

Display  of  flow- 
ered silks  against  a 
very  clever  scroll 
background.  The 
mirror  background 
was  paneled  off  with 
a  border  of  tarlatan. 
The  scrolls  were  cut 
out  of  wall  board  and 
made  a  very  attrac- 
tive decoration. 


324 


CoMPLiyPK  Window   Tiums 


Window   Xo.  4. 

A  conil)iiialii>n  Irini 
having  several  drapes 
and  several  suits 
shown  on  forms.  For 
small  stores  that  have 
limited  window  space 
it  is  sometimes  nec- 
essary to  mix  dis- 
plays of  this  kind. 


Window  No.  5. 

White  goods  draped 
on  half  forms  and  T- 
stands.  Flowered  ril)- 
bons  were  used  lib- 
erally and  introduced 
a  bit  of  attractive 
color  into  the  dis- 
play. Garlands  of  ar- 
tificial roses  decorat- 
ed  the  background. 


Window  No.  0. 

Wash  goods  win- 
dow that  shows  how 
goods  were  draped  in 
1907  and  we  would 
now  say  this  window 
was  too  messy.  The 
goods  are  seemingly 
running  in  every  di- 
rection. 


325 


Complete  Window  Trims 


Window  No.  7. 

A  silk  window  in 
which  are  used  three 
half  forms  and  two 
T-stands.  The  mir- 
ror background  was 
decorated  with  two 
floral  pieces  of  the 
artificial  variety  with 
large  ribbon  bows  as 
part  of  the  decora- 
tion. 


Wi-VDOW  No.  8. 

A  drapery  window 
using  two  very  large 
drapes  on  T-stands 
and  a  small  festoon 
drape  on  the  back- 
ground. 


Window  No.  9. 

A  silk  window  with 
silks  draped  on  waist 
forms  and  on  T- 
stands.  A  large  how^ 
drape  was  fastened 
to  the  center  of  the 
border.  The  tall  post 
with  lattice  decora- 
tion adds  much  char- 
acter to  the  window. 


326 


Complete  Window  Trims 


Window    No.    10. 

A  gingham  display 
with  a  full  form  in 
the  center  having  the 
goods  draped  on 
same  in  imitation  of 
a  house  dress  and  the 
same  goods  arranged 
in  three  pyramid 
drapes. 


Window    No.    11. 

A  wash  goods  win- 
dow showing  the  use 
of  one  of  the  wall 
drapes.  This  is  un- 
usual because  this 
type  of  drape  is  real- 
ly intended  for  wool 
goods. 


Window    No.    12. 

Summer  fabrics 
shown  in  a  window 
decorated  in  such  a 
way  as  to  give  the 
mid-summer  outdoor 
atmosphere  to  the 
display.  This  is  done 
by  means  of  lattice 
work  and  artificial 
flowers. 


327 


C()MPM:ri:  Window  Thims 


Window  No.  13. 

An  interesting  stjle  of  drap- 
ing- that  was  much  in  vogue 
some  years  ago.  It  is  rather 
stiff  and  too  regular  in  ar- 
rangement. 


Window   No.   14. 

Two  very  good 
drapes  against  an  ar- 
tistic background  hav- 
ing a  tall  panel  deco- 
ration covered  with 
artificial    flowers. 


('oMi'LF-Ti:   Window   Tium! 


Window  No 


Window  No.  16. 
This  window  shows 
two  mummy  drapes,  a 
half  form  drape,  a  waist 
drape  and  a  slat  drape. 
The  background  is  done 
in  plain  panels  finished 
in  alabastine  and  fin- 
ished at  the  top  with  a 
border  of  natural  oak 
branches. 

Window    Xo.    17 
The  illustration  on  the 
bottom     of     tlie     page 
shows  several  good  satin 
drapes. 

At  first  glance  this  picture  may  not  appear  to  be  especially  interesting  but  it  is  well 
worth  a  careful  study.  About  the  most  difficult  proposition  that  is  put  up  to  the  trimmer  is 
to  make  an  attractive  display  of  satin.  It  is  the  most  delicate  and  perishable  fabric  carried 
by  a  department  store.  If  there  is  a  wrinkle  in  it  no  amount  of  pressing  will  eradicate 
it  without  ruin  to  the  surface  of  the  goods.  Therefore  the  goods  must  be  worked  with 
as  little  pinning  as  possible  and  entirely  without  fanciful  pleating  or  puffing.  This  picture 
shows  the  half  of  a  display  of  satin  cashmere  de  soie.  The  upper  drape  was  made  over 
an   oval   board   9x12   inches.     The   satin   is   simply  laid   over  the   ovals   without  the  use  of 

pins.     The     trimming     and 

No.  12  black  velvet  ribbon 
are  then  looped  together 
and  a  single  large  pin  is 
used  to  hold  them.  The 
pin  is  driven  straight 
through  the  satin,  making 
only  one  hole  in  the  entire 
drape.  The  low  drape  at 
the  right  hand  of  the  win- 
dow is  one  that  one  can 
use  frequently  in  all  kinds 
of  dress  goods  displays.  It 
is  put  up  with  the  use  of 
only  two  pins.  The  waist 
form  was  trimmed  perfectly 
plain  witli  a  band  trimming 
down  the  front.  The  goods 
used  in  all  of  these  drapes 
came  out  of  the  window  in 
perfect  condition.  The  sat- 
ins in  this  window  were  all 
in  purple  and  helio  shades 
with    accessories    to    match. 


Window  No.   17 


329 


Complete  Window  Trims 


These  illustrations  from  Window  18  to  26  inclusive  act  as  a  lesson  to  other  trimmers 
on  iiow  to  use  scenic  work  in  connection  with  drapes. 

Instead  of  putting  in  a  regular  stage  setting  of  strong  colored  scenic  work,  these  windows 

used  the  scenic  work 
only  in  panels  against 
the  background  in  con- 
junction with  massive 
square  pedestals  a  n  d 
frames  and  a  profusion 
of  artificial  leaves.  The 
colors  used  in  the  scenic 
work  were  almost  in 
monotones  with  plenty 
of  plain  flat  surfaces  and 
very   little   detail. 

In  \\'in|dow  18  we 
show  a  scenic  panel  tak- 
ing up  only  the  center 
of  the  background  and 
flanked  on  either  side 
with  square  columns  of 
graduated  heights.  The 
tops  of  these  columns 
were  covered  solidly 
Window  No.  18  with  a  mass  of  artificial 

leaves,  part  of  them 
trailing  down  almost  to 
the  base. 

The  colors  of  the  ar- 
tilicial  leaves  were  in  ex- 
actly the  same  colors  as 
the  leaves  that  were 
painted  in  on  scenic 
panel. 

The  surface  of  the 
square  columns  were 
covered  with  a  tint  of  al- 
abastine  that  harmon- 
ized perfectly  with  the 
foliage.  The  painting  in 
this  particular  window 
was  a  very  beautiful 
composition  and  wa-- 
used  afterwards  in  tl;e 
store  interior  as  a  per- 
manent decoration  on  one 
of  the  walls.  Window  «o.   19 

In  Window  19  is  shown  a  companion  window  to  Window  18.  It  will  be  noticed  that 
the  painted  panel  is  samewhat  larger,  taking  up  more  space  on  the  background.  The  con- 
struction and  arrangement  of  the  framing  of  the  panel  is  quite  clearly  indicated.    First,  there 


Complete  Window  Trims 


is  a  box  border  covered  flat  with  muslin,  painted  with  alabastine;  next  there  are  the  square 
columns  covered  with  a  relief  compound  and  finished  up  in  a  very  rough  treatment.     The 
plain  flat  surface  was  finished  up  in  a  slightly  lighter  color  tlian  the  rough  surface. 
In  Window  20  we  find 
background 


the  entire 
of  the  window  covered 
with  a  scenic  painting. 
Notice  that  the  design  is 
conventionalized  into  a 
purely  decorative  treat- 
ment, with  no  suggestion 
of  horizon  or  fore- 
ground. This  gives  you 
ditlcrent  treatment  than 
shown  in  Windows  18 
and  ID,  and  shows  how 
it  is  possible  to  cover 
the  entire  background 
witlT  the  scenic  painting. 
Care  should  be  taken, 
however,  that  the  paint- 
ing should  be  more  sub- 
dued than  most  scenic 
work      and      should      be 


Window  No.   20 


treated    in    a    decorative 
manner. 

Window  21  shows  the 
corner  window,  the  back- 
ground of  which  is  cov- 
ered with  the  same 
scenic  treatment  as  Win- 
dow 20.  Where  the 
l)ackground  terminates. 
\nu  will  notice  it  has 
'  cen  finished  oflf  with  a 
border  of  artificialleaves. 
The  drape  shown  in 
this  window  is  excep- 
tionally well  done.  It 
was  done  without  cutting 
the  goods  and  was 
draped  over  a  full  form. 
Votice  how  beautifully 
lie  goods  drape  over  the 
lloor. 

Window  No.  21  The    drape    shown    in 

Window  18  was  likewise  draped  on  a  full  form  without  cutting  the  goods.    The  over-drape 
was  of  spangled  net.    It  was  almost  impossible  to  detect  this  drape  from  a  made-up  gown. 

331 


Complete  Window  Trims 


The  drapes  in  Windows  19  and  20  were  made  on  the  regulation  shell  draping  form. 
Notice  the  show  card  in  Window  20.     This  card  was  decorated  with  a  design  similar  to 
the  background. 

Window  22  shows  another  scenic  window  setting,  there  being  only  one  drape  in  the  en- 
tire window.  The  lower  part  of  the  background  is  made  to  represent  a  low  cement  wall 
while  above  it  appears  the  scenic  back. 

A  tall  flowerstand  and  a  row  of  hollyhocks  along  the  back  complete  the  decoration. 
The  drape  is  made  on  a  half  form  and  is  beautifully  done. 

In  Window  23  we  see  a  room  interior  effect  produced  by  painting  the  panels  in  with  ala- 
bastine.  Through  French  doors  can  be  seen  a  scenic  painting  of  an  out-of-door  scene.  Both 
the  drapes  in  this  window  are  shown  in  separate  illnstratiuns  in  this  book,  one  in  the  chapter 

on  "Mermaid  Drapes'' 
and  the  other  in  the 
chapter  on  "The  Evo- 
lution of  a  Drape." 

Window  24  shows  an- 
other of  the  Mermaid 
Drapes  shown,  and  a  full 
shell  figure  draped  in  a 
simple  manner.  Notice 
the  artistic  show  card 
used   in   this  window. 

In  Window  25  we  show 
another  most  original 
drape  worked  out  on  a 
full  form.  This  dress 
looked  so  real  that  it 
was  impossible  to  detect 
the  fact  that  it  was  made 

up    without    the    aid    of 
Window  No    "" 


shears,  thread  and    needle 
or   the   drcs.'imaker. 

In  Window  "_'(i  wc 
have  another  one  of  the 
series  of  windows,  in- 
cluding Windows  23,  24 
and  25,  all  of  them  made 
to  represent  room  inte- 
riors. All  of  tjie  scenic 
nnrl  room  interior  win- 
dows and  the  drapes  in 
Windows  18  to  26  inclu- 
sive were  made  by  Mr. 
P>.  I^uis  Goodyear,  a 
graduate  of  (he  Koester 
school. 


Window  No.   23 


Complkit:  Window  Thims 


Window  No.   26 
333 


Complete  Window  Trims 


Window  27 — Display  of  Rajah  silks.  Green  tarlatan  is  plaited  over  green  silkolinc  for  the 
background,  the  border  being  a  12-inch  board  covered  with  white  alabastine  with  green 
ribbon  as  border.  The  two  tall  panels  were  cut  from  compo  board,  painted  with  white 
alabastine  and  decorated  with  artificial  flowers. 


Window  28 — Three  drapes,  the  one  in  the  center  being  draped  on  one  of  the  early  style 
half  forms.  It  is  interesting  to  compare  this  form  with  the  one  in  use  today.  Green  sateen 
plaited  background  with  pampas  grass  decorations. 

334 


Complete  Window  Tiums 


Window  29— This  is  a  simple  display  of  ginghams  against  a  permanent  hardwood  pan- 
eled background,  decorated  at  the  top  with  a  lattice  work  and  artificial  grapevines.  All  the 
drapes  except  th?  half  form  in  the  center  were  arranged  on  wooden  stands.  Four  stands 
had  crossbars  on  top  while  one  had  a  slanting  top.  Embroideries  were  draped  from  one 
stand  to  another.  This  was  a  sale  window,  therefore  the  show  card  was  used  to  state  the 
price. 


Window  30— Here  is  a  window  trimmed  by  the  same  trimmer  as  did  No.  29.  You  will 
notice  he  has  the  same  hardwood  background,  but  this  time  it  has  been  decorated  with  a 
few  sprays  of  artificial  apple  blossoms.  The  goods  shown  are  all  white  wool  suitings.  Two 
drapes  are  arranged  in  half  forms,  two  on  slanting  bar  tops  and  one  on  a  slanting  diamond 
shaped  top  stand.     Several  different  styles  of  trimming  are  draped  from  drape  to  drape. 

335 


Complete  Window  Trims 


Window  31— This  illustration  shows  a  complete  store  front,  one  of  the  windows  benig 
draped  in  light  colored  goods.  One  shell  form  and  two  tall  T-stands  are  the  only  fixtures. 
Massive  garlands  of  artificial  foliage  are  draped  between  two  panels,  thus  givmg  a  very 
sightly  decoration  on  the  background. 


WiNixjw  32— Here  wc  have  a  silk  window  for  Easter.  The  silks  are  draped  on  two  tall 
T-stands  and  on  a  full  form.  The  decorations  consist  of  a  papier-mache  decorative  piece 
imitating  a  group  of  rabbits.  A  small  rabbit  is  posed  on  the  floor  and  a  fancy  floor  lamp 
completes  the  setting. 

33G 


Complete  Window  Trims 


Window  33 — A  well  balanced  display  of  dress  goods,  making  use  of  two  half  forms, 
three  wall  drapes,  two  mortar  board  stands,  a  tilting  board  top  stand  and  a  semi-circular 
top  stand.    The  goods  are  well  handled  in  this  display. 


Window  34— A  gingham  display  making  use  of  well  arranged  groups^  of  original  bolts. 
Only  a  few  pieces  are  opened  up  and  shown.  This  is  more  of  an  educational  exhibit  as  it 
has  on  the  floor  an  exhibit  of  the  various  processes  cotton  must  go  through  in  order  to 
finally  be  made  up  into  this  gingham.  Show  cards  and  photographs  further  illustrate  the 
process.  337 

22 


Complete  Window  Trims 


Window  35— An  exceptionally  fine  example  of  dress  goods  draping,  one  piece  of 
goods  being  shown  on  the  style  of  papier-mache  draping  form  just  introduced  in  1910.  The 
decorations  are  of  foliage  in  tones  of  tan  and  lavender.  The  window  frames  were  covered 
with  tan  felt  and  shaded  in  tones  of  lavender  with  an  air-brush.  The  floor  was  covered 
with  brown  felt.     The  dress  goods  were  in  colors  of  lavender  and  tan. 


Window  3C — This  is  an  ideal  showing  of  flannels.  One  pattern  is  draped  over  a  form 
showing  how  the  flannel  will  look  when  made  up.  The  other  pieces  are  draped  over  simple 
wooden  stands  and  form  the  background.  The  draping  and  arrangement  of  goods  in  the 
window  is  very  well  done.  The  background  is  an  interesting  treatment  of  framework  cov- 
ered in  white  felt.  The  darker  panels  have  been  covered  with  plaster  and  relief  designs 
drawn  on  same. 


Complete  Window  Trims 


Window  37 — Here  we  have  a  fine  example  of  wall  drape  and  two  drapes  on  tall  stands 
w^ith  cross  pieces  at  the  top.  The  form  was  well  draped  in  the  style  in  vogue  at  the 
time  the  drape  was  made.  Millinery  and  trimmings  were  used  as  accessories  in  this  window. 
A  lattice  covered  with  artificial  wistaria  decorated  the  background. 


Window  38— This  window  is  an  example  of  very  excellent  draping  and  also  of  the  fact 
that  there  are  windows  in  small  towns  that  would  be  a  credit  to  any  large  city,  this  window 
being  placed  in  a  town  of  only  a  few  thousand  inhabitants.  The  background  was  decorated 
with  natural  prepared  foliage  called  "Beech  Spray"  in  mahogany  shades. 


Complete  Window  Trims 


'^m  mm 


W  ixDow  3!)— This  is  an  excellent  example  of  how  the  various  Koester  drapes  look  when 
crowded  in  a  window  for  a  sales  window.  Every  drape  shows  up  well  and  the  variety  takes 
away  from  the  monotony  so  common  in  crowded  windows,  where  only  one  or  two  styles  of 
drapes  are  used. 


Window  40 — A  clear  idea  of  the  arrangement  and  construction  of  the  framework  of 
this  artistic  showing  can  be  had  by  a  careful  study  of  the  illustration.  The  simple  and  effect- 
ive drape  of  silk  on  the  right  offers  a  suggestion  for  a  similar  display  of  fabrics.  The  back- 
ground is  especially  pleasing. 

340 


Complete  Window  Trims 


Window  41 — This  very  beautiful  window  has  in  it  one  of  the  Mermaid  drapes  shown 
in  the  chapter  on  this  subject  in  this  book.  At  the  extreme  right  hand  side  can  be  seen 
part  of  a  mummy  drape.     The  other  drapes  arc  on  full  form. 


Window  42 — This  State  Street  window  makes  use  of  two  dummy  drapes  and  the  full 
form  without  shoulders.  The  background  is  made  to  represent  a  room  interior  with  win- 
dows through  which  one  can  look  out  into  beautiful  formal  gardens. 

341 


('.oMi'LirrE  Window  Trims 


Window  43 — Your  especial  attention  is  called  to  the  mummy  drape,  with  the  butterfly 
drape  on  the  top.  This  is  a  new  and  noteworthy  treatment  of  the  mummy  form.  It  is  a 
demonstration  of  how  one  can  combine  two  drapes  or  draping  ideas  and  get  an  entirely  new 
drape.  The  other  drape  is  arranged  on  the  pillow  top  stand  as  illustrated  elsewhere  in  this 
hook.  The  only  decoration  in  the  window  was  the  large  fancy  basket  filled  with  the  finest 
of  artificial  flowers. 


Window  44 — Here  we  have  two  of  the  best  munnny  form  drapes  and  one  full  form 
drape  using  the  Princess  form.  The  background  was  of  Circassian  walnut  paper  (a  perfect 
imitation  of  the  real  wood).  The  border  was  a  scenic  painting  of  a  winter  scene  finished  off 
in  imitation  icicles,  made  out  of  cotton  wadding  cut  the  desired  shape.  This  window  was 
draped  and  trimmed  by  students  of  the  Kocstcr  School  in  one  of  the  permanent  windows  of 
the  school. 

342 


CoMPLETK  Window  Trims 


Window  No.   45 


Window  No.  46 


It  is  our  good  fortune  to  be  able  to  show  in  Windows  45,  46,  47,  48  and  49  complete 
show  windows  draped  with  silks  and  dress  goods,  that  are  in  reality  lessons  on  how  to  put 
in  these  fabrics. 

Not  only  do  these  illustrations  show  you  how  to  place  each  drape  in  the  window,  but  they 
also  show  you  a  large  variety  of  different  drapes,  every  one  of  them  being  most  practical. 
These  drapes  range  from  the  most  simple  ones  to  the  more  complex. 

The  beauty  of  a  fabric  cannot  be  brought  out  successfully  unless  it  is  well  draped.  Too 
many  trimmers  really  spoil  the  beauty  of  a  piece  of  goods  by  the  way  they  muss  it  up 
trying  to  make  a  drape.  These  trimmers  wrap  the  goods  around  a  stand  or  form,  puff  it 
and  otherwise  maltreat  the  goods.  Instead  of  this  the  goods  should  be  so  handled  that 
it  would  fall  into  natural  folds.  It  will  be  found  that  these  natural  folds  are  the  most 
graceful  that  it  is  possible  to  procure  and  as  there  are  no  wrinkles  made  in  the  goods 
there  will  be  no  spoiled  merchandise. 

It  is  said  that  no  one  can  improve  on  nature,  it  surely  is  true  that  no  matter  how 
hard  a  trimmer  tries  he  will  not  be  able  to  improve  on  the  natural  folds  that  goods  will 
fall  into,  if  handled  by  an  experienced  trimmer. 

It  is  true,  however,  that  the  trimmer  can  accentuate  the  natural  folds  and  can  add  to 
the  drapes  such  accessories  as  buttons,  ribbons,  laces,  hats  and  gloves,  and  thus  make  as 
nearly  perfect  a  display  as  possible. 

In  Window  45  is  shown  a  complete  window  trimmed  with  only  three  drapes.    These  are, 


Window  No.  47 


Window  No.  48 


343 


Complete  Window  Trims 


however,  of  good  size  and  fill  the  window  as  completely  as  would  a  greater  number  of  small 
drapes.  The  highest  drape  is  what  is  called  a  background  drape  from  the  fact  that  it  is  made 
over  a  fixture  attached  to  the  background  seven  or  eight  feet  from  the  floor. 

The  top  of  this  fixture  is  a  square  piece  of  wood  with  one  of  the  corners  facing  the 
front  of  the  window.  Part  of  the  goods  is  draped  from  this  fixture  over  to  a  point  along 
the  top  of  the  border  a  trifle  past  the  center  of  the  window.  This  makes  a  simple  festoon 
drape  and  is  then  allowed  to  drape  gracefully  to  the  floor. 

The  drape  in  the  other  corner  of  the  window  is  arranged  over  a  half-round  tilting  top, 
the  center  drape  being  made  on  a  V-shapcd  upright  made  by  placing  the  edges  of  the  two 
wide  boards  together  and  fastening  them  in  the  back  so  that  they  are  less  than  right  angles 
to  each  other. 

Window  46  is  a  very  beautifully  draped  window  in  the  simplest  style  possible.  The  five 
drapes  are  all  made   over  tilting  top   drape   stands.     The  two  highest  ones  can   either  be 


Window  No.  49 


fixtures  that  fasten  to  the  border  of  the  background  or  can  be  extremely  tall  stands.  The 
eff'ect  obtained  would  be  the  same  and  we  would  recommend  the  fixtures  fastened  to  the 
background,  as  it  will  save  the  extra  material  needed  in  a  tall  stand  and  is  not  so  apt  to  fall 
over  or  warp  out  of  shape. 

Window  47  is  a  silk  window  with  four  drapes,  all  of  them  very  diversified.  There  is  a 
T-stand  drape  and  a  background  or  wall  drape.  There  is  also  a  half  shell  form  with  an 
elaborate  finish  on  the  top.  The  most  interesting  drape  in  the  window  is  the  waist  form 
draped  to  imitate  a  made-up  waist. 

Window  48  is  a  dress  goods  window  that  shows  only  three  drapes,  two  of  them  being 
wall  drapes.  The  half  form  is  used  to  show  a  very  effective  drape  finished  off  at  the  top 
with  wide  velvet  ribbons. 

In  Window  49  is  executed  three  very  beautiful  drapes,  two  of  them  being  wall  drapes 
and  one  of  them  being  a  mummy. 

A  careful  study  of  all  three  of  these  drapes  will  repay  any  trimmer.  The  draping  is 
very  nearly  perfect  and  the  arrangement  in  the  window  can  be  carried  out  profitable  by 
any  trimmer. 

344 


Complete  Window  Trims 


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345 


CoMPLKTE  Window  Trims 


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We  show  on  this  page  the  orighial  design  for  decorations  of  a  fall  showing  of  dress 
goods,  and  also  the  arrangement  of  the  merchandise.  The  large  illustration  on  the  oppo- 
site page  is  that  of  the  completed  window. 

The  decoration  is  very  effective  and  very  easy  to  make.  The  conventionalized  tree 
is  a  flat  framew,ork  cut  out  to  shape  and  covered  flat  with  felt.  If  a  cheaper  covering  is 
desired,  use  muslin  and  cover  it  with  a  coating  of  Alabastine. 

On  this  framework  is  pasted  a  thick  cluster  of  autumn  leaves  or  scissored  tissue 
paper  in  brown  tones.  This  is  pasted  to  within  about  two  inches  of  the  edge  of  the  frame, 
thus  leaving  a  white  border  all  about  the  tree. 

Twisted  about  the  base  of  this  tree  and  extending  ,over  tlie  top  border  of  the  back- 
ground is  an  autumn  vine.  This  vine  can  be  of  grapes,  ivy,  wild  vine  or  creeper.  Care 
should  be  taken  to  have  all  colors  harmonize. 

The  arrangement  of  the  dress  goods  is  very  well  carried  out.  The  drape  on  the  form 
will  be  remembered  as  the  hobble  drape  shown  elsewhere  in  this  book. 

In  the  finished  window  you  will  notice  that  the  conventionalized  tree  is  not  as  tall  as 
planned  in  the  design.    We  believe  that  the  taller  tree  would  have  been  more  effective. 
Accessories,  such  as  furs,  millinery,  hosiery,  etc.,  are  added  to  the  display. 
This  design  can  be  used  in  connection  with  any  kind  of  background,  either  mirrored, 
paneled,  wood   or  gathered  cloth.     In   the  sketch  the  background  is  indicated  as  being  of 
mirrors,  while  the  photograph  shows  a  background  of  plaited  tarlatan. 
The  floor  should  be  in  a  light  tan  shade  of  felt  or  flannelette. 

This  design  can  be  used  for  other  lines  such  as  millinery,  ready-to-wear,  shoes, 
clothing,  etc. 

This  same  idea  could  be  adapted  for  use  at  Christmas  time.  The  tree  would  be  made 
to  represent  a  Christmas  tree,  and  the  foliage  could  be  of  holly,  mistletoe  or  poinsettia. 
The  color  scheme  should  be  planned  out  so  as  to  include  bright  tones  of  red,  green  and 
giold.  Tinsel  and  other  sparkling  ornaments  add  very  much  to  the  Christmas  trim.  Plenty 
of  light  should  also  be  used  in  the  windows  in  order  to  give  them  as  much  brightness  as 
possible. 

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2^  -a      o 

<j  «  o 

>■  <i>-^  bo 


•si 


S3.       'k'S.-o 


a    r. 


•?2     -^--ll 


e-g.s 


u     C 

„    o 


a        a. 

o   o 
E   c    a 


DUM'INti    ON     FOHMS 


FASHION  DOLL  DRAPING 

PERHAPS  the  most  interesting  innovation  that  has  l)een  brought  to  the  attention  of 
window  trimmers  lately  is  the  new  fashion  doll.  The  tiny  size  of  these  figures  (they 
stand  barely  15  inches  high),  and  their  chic  poise  and  rather  saucy  expression  make 
Ihem  wonderfully  attractive  to  the  public.  And  the  trimmer  who  has  been  draping  with  the 
full  size  forms  will  get  more  real  fun  and  pleasure  in  makine  these  little  miniature  drapes 
than  in  any  other  detail  of  his  windnw 
work. 

These  little  forms  are  not,  however, 
for     the     clumsy    trimmer.       The    man 
whose  "fingers  are  all  thunil)s"  will  have 
a  sorry  time  with  them. 
It      takes      deft      fingers 
and   an   artistic   touch   in 
fitting  the  goods  around 
the  figurines. 

The  small  size  of 
the  dolls  makes  it  im- 
possible that  they  be  _j. 
used  in  the  same  way  as 
full  size  forms  are  used. 
— for  they  would  never 
till  the  space.  The  logical  way  is  to  use  them  in  connection  with  some  stand  or  box  drape 
to  sho-w  the  connection  of  the  draped  stand  with  the  made  up  gown. 

A  yard  of  ribbon  five  inches  wide  will  go  as  far  in  draping  one  of  these  little  form?, 
as  a  dress  pattern  length  of  average  width  goods  will  on  a  full  size  form.  Therefore  in 
certain  cases  it  will  be  por^sible  to  match  the  goods  in  the  large  drape  with  ribbon  with 
which  to  drape  the  doll.     This  is  illustrated  in  our  cut  No.  1,  showing  a  combination  drape 

of  black  velvet  and  white  satin.     Three 


Fig.  2 


upright  boards  are  used  for  the  drape 
as  will  be  seen  in  the  illustration,  and  a 
pedci-tal  standing  in  front  has  the  cen- 
ter of  the  black  velvet  draped  over  its 
top  and  twisted  around  it  down  to  the 
fioor.  The  figure  was  draped  with 
short  remnants  of  ribl)on  in  the  same 
materials. 

\\'ith  staple  materials  like  these  it 
is  comparatively  easy 
to  match  up  the 
goods  with  ril.:bon, 
but  for  novelty  silks 
and  dress  goods,  an- 
other problem  arises. 
Of  course  there  are 
no  ribbons  in  dress 
goods    materials,    and 


411 


Dhaping  on  Forms 


most  of  these  wool  goods  are  so  wide  that  they  are  bulky  to  drape  satisfactorily  on  the 
dolls.  In  many  cases  the  only  practical  way  would  seem  to  be  to  cut  off  a  narrow  strip  of 
goods  from  the  end,  4  or  5  inches  wide,  and  use  this  for  making  the  drape.  This  is  what 
has  been  done  in  the  drape  No.  2.  This  is  a  box  stand  drape  of  purple  broadcloth,  with 
a  second  stand,  consisting  of  two  boards  nailed  together  at  right  angles,  brought  up  to 
the  box  in  the  back.  The  little  figure  stands  on  top  of  the  box  with  tlic  two  boards 
forming  a  sort  of  niche  for  background.  The  figure  was  dressed  with  a  scraji  of  silk  for 
dress  with  train,  and  then  a  loose  fitting  evening  wrap  of  broadcloth  draped  over  this. 
The  coat  was  edged  witli  a  narrow  band  of  fur  trimming.  In  this  case  tlie  coat  was  made 
of  a  broadcloth  a  shade  darker  than  that  used  in  the  drape  in  order  to  make  it  stand  out 
in  the  photo.  In  actual  practice  a  strip  from  the  same  piece  should  be  used  to  make  the 
connection  between  the  two  drapes  perfectly  clear. 

But  cutting  oflf  even  so  little  goods  as  four  or  live  inches  will  be  objected  to  in  some 
stores, — and,  I  presume,  in  even  some  stores  where  the  clerks  habitually  slash  off  two  ^r 
three  inches  for  a  sample  at  the  request  of  a  customer.  .\1I  our  traditions  in  window  dress- 
ing are  to  the  effect  that  goods  must  be  draped  without  cutting  or  other  damage.  So  it 
seems  to  us  that  some  of  the  lest  stunts  that  will  be  worked  out  with  the  little  forms  will 
be  by  using  the  goods  in  the  full  or  dress  pattern  lengths  without  cutting. 


Two  examples  of  what 
if  this  issue  and  in  Fig.  3. 


Oi 


drape,  u.'^iiig  an  end  or  just  a  small  part  of  the  go( 
done  in  connection  with  T-stands,  box  stands,  or 
is  illustrated  on  previous  pages. 

412 


e  accomplished  in  this  line  are  shown  on  the  front  cover 
cover  illustration  shows  how  the  end  of  a  piece  of  silk 
from  an  ordinary  T-stand  drape  can  be  brought  up 
around  a  pedestal  or  table  plateau,  and  used  to  drape  the 
figure. 

The   high   drape   in    No.   3   is   made   over   an   inverted 
.hopping  bowl  top  from  which   a  sweep  is  brought  to  the 
back  of   the   little   figure,    the    selvage  passed   around   the 
ust,  then  caught  in  the  extended  hand  of  the  figure  and 
aped   away   to   the   floor.     The  silk   used   was  27   inches 
wide,    and    the    surplus    was    folded 
liack      underneatli      the      form,      and 
edged    witli    a    narrow    band    of    fur 
trimmimg.      which      was      also     used 
around   tlie   1  ust. 

So  nnieli  interest  lias  licen  mani- 
fested   in    the    idea    of   draping 
fabrics    on    fashion    dolls,    \hv\ 
.we  are  showing  herewith  sev- 
eral suggestions  for  the  use  of 
miniature    li.tiurcs   a   trifle   over 
30  inclies  in  length.    W'c 
are   of   the   opinion,   that 
the    clever    way    to    use 
these    forms   is   to   make 
them    part    of    a    larger 
figure.     I  low  tills  can  le 
ly   sort   of   draping   stand. 


•    lllC 


in    fact 


Draping  on  Forms 


Draping  these  small  figures  with 
full  width  material  without  cuttiiit;, 
means  that  the  drape  itself  must  1  e 
simplified,  and  such  things  as  divided 
paniers,  tunics,  slit  skirts,  etc.,  will 
not  be  easy  to  accomplish.  How- 
ever, many  of  these  ideas  can  he 
suggested  by  making  over  drapes  of 
lace  or  ribbon.  We  do  not  view 
with  approval,  the  proposal  of  some 
of  the  trimmers  to  cut  up  the  ma- 
terial in  order  to  dress  the  figures 
with  cut  and  fitted  garments,  pinned 
or  pasted  together.  This  is  getting 
away  from  the  draping  proposition, 
and  setting  up  more  as  "doll  dress- 
makers," an  accomplishment  which 
we  hardly  believe  is  necessary  to 
add  to  a  window  dresser's  repertoire 
— to  say  nothing  of  the  destruction 
of  the  goods. 

The  doll  drape  on  the  table  is 
suggested  as  a  goc  d  one  to  use  as  a 


Fashion  Doll  Draped  on  Top  of  Large  Bolt 
centerpiece  to  a  window  display.  A 
36-inch  bordered  material  is  used, 
with  the  bulk  of  the  goods  kept  in 
the  original  folds  and  draped  over 
the  edge  of  the  table.  The  end  from 
the  top  layer  is  draped  around  the 
doll,  without  cutting,  with  the  bor- 
der in  a  diagonal  across  the  front. 
A  remnant  of  lace  is  used  for  trim- 
ming over  the  shoulder  and  to  form 
short  sleeves. 

The  other  doll  drape  is  made  in 
connection  with  a  dummy  bolt  fix- 
lure,  standing  on  a  plateau,  and 
using  a  54-inch  broadcloth.  In  cov- 
ering the  bolt,  about  a  yard  and  a 
half  of  the  material  is  left  in  the 
1)ack,  which  is  afterwards  brought 
up  over  the  top  of  the  bolt  and 
draped  around  the  doll.  A  corner 
of  tlie  goods  at  the  end  forms  the 
pointed  bodice.  With  such  wide  ma- 
terial one  can  only  suggest  a  draped 
effect  around  the  skirt  of  the  form, 
but  even  so.  a  good  idea  of  how  the 
goods  will  look  "made  up"  is  ob- 
tained, and  the  direct  connection  of 
the  goods  on  the  bolt  with  the  dress 
on  the  doll  forms  a  good  advertis- 
ing idea. 


These  blank  pages  are  left  so 

that  you  can  paste  in  any  new 

drape  that  may  come  to  your 

attention. 


411 


How  to  Drape  the  New  Five-in-One  Form 

A  new  Five-In-Onc  draping  form,  which  was  shown  for  the  hrst  time  at  the 
recent  Window  Trimmers'  Convention,  is  illustrated  in  the  cut  at  the  head  of  this 
page.  Its  practicability  will  be  apparent  to  most  trimmers  at  first  glance.  With  all 
parts  assembled  we  have  a  full  form  with  especially  pleasing  lines  for  draping  dress 
effects.  By  removing  the  top  and  mounting  on  a  metal  base  and  standard  supplied 
with  the  form,  we  have  a  stand  suitable  for  showing  neckwear,  furs,  or  for  draping 
suggestions  of  w^aist  styles  with  either  silks  or  line  laces.  This  leaves  a  three-quarter 
form  with  open  top,  which  may  be  still  further  separated  into  a  pair  of  right  and  left 
shell  forms.  So  whatever  style  of  drape  it  may  be  desired  to  use,  a  suitable  form 
will  be  found  with  which  to  carry  it  out. 

The  four  illustrations  on  the  opposite  page  will  serve  to  show  how  the  different  parts 
of  this  form  look  when  draped. 

The  full  form  drape  at  the  right  was  made  as  simple  as  possible  in  order  to  keep 
close  to  the  lines  of  the  figure.  The  goods  is  fitted  smoothly  down  over  the  hips  and 
down  on  the  side  of  the  form  it  is  caught  up  underneath  several  inches  forming  an 
overhanging  fold  diagonally  across  the  front.  Swing  the  goods  down  across  the 
front  of  the  form  in  a  sort  of  twisted  effect  to  the  back,  then  return  with  the  under- 
fold  of  the  foods  up  to  the  same  point  on  the  side.  The  niateri:;!  is  laid  in  several 
small  plaits  at  the  bust  and  drapes  loosely  over  the  shoulders,  merely  suggesting  a 
short   sleeve   effect   in   this   way. 

The  drape  on  the  waist  top  form  was  made  with  a  wide  shadow  lace.  It  will 
be  noticed  that  this  wai.st  top  extends  only  to  the  bust,  so  that  only  a  suggestion  of 
the  top  of  a  waist  may  be  draped,  flowever,  this  feature  will  be  quite  an  advantage  in 
draping  the  shadow  laces  on  the  form,  as  it  will  not  require  a  lining.  Also  the  size 
of  the  form  makes  it  especially  suitable  for  show  case  trimming  where  often  the  full 
size  waist  form  would  be  too  large. 

About  a  four  and  a  half  yd.  length  nf  the  lace  was  used  and  the  start  was  made 
about  one  and  a  half  yards  from  the  end  by  jjlacing  the  lace  straight  across  the  front, 


41!^ 


with  the  edging  up  close  to  the  neck.  (This  part  does  not  show  in  the 
tn^raving  on  account  of  the  high  hght  on  the  photo.)  Then  the  end  of 
tlic  lace  is  rolled  to  form  the  lower  sleeve  and  the  surplus  draped  back 
over  the  shoulder  to  the  center  of  the  front.  The  other  side  is 
finished  in  about  the  same  way,  but  there  being  a  hmger  length  on 
tills  side,  the  end  is  allowed  to  drape  to  the  floor  from  underneath 
tiie  form,  thus  showing  the  pattern  nicely.  The  lower  sleeve  is  formed 
by  gathering  a  fullness  of  the  lace  to  the  shoulder  and  then  draping 
back  over  the  top  to  the  center  as  before. 

In  the  three-quarter  drape  form  the  end  of  the  goods  is  gathered 
loosely  along  the  top,  then  draped  down  some- 
what into  the  open  part,  then  comes  over  the 
edge  and  fits  the  form  snugly  down  to  the  floor. 
The  tunic  of  wide  lace  and  the  drapery  caught 
up  to  the  girdle  with  the  rhinestone  buckle  arc 
nth  features  of  the  new  styles.  This  drapery  is' 
pinned  up  to  the  back  and  swings  out  to  the 
nor  at  the  right  in  a  graceful   sweep. 

The    half    shell    form    does    not    need    much 
xplanation.     The    goods    is    caught   up    in    front 
at   the   edge   of  the   form,   draping  away  to 
the   back   over   a   double   flouncing   of   lace. 
The  shoulder  of  this  shell  form  is  cut  away 
somewhat    lower    than    the    shell    form    to 
which     we     have     been     accus- 
tomed.     To    make    up    for    this 
a  double  loop  of  the  goods  has 
been     made     on     the     shoulder 
finished  off  with  a  large  bow 
black   moire   ribbon,   set   with   a 
fancy  buckle. 

This  idea  of  getting  so  many 
can  be  subdivided  into 
several  forms  will  appeal  particularly  to  those  stores  that 
have  only  two  or  three  windows  and  to  those  stores 
where  little  money  can  be  appropriated  for  buying 
window   fixtures. 

There  is  no  limit  to  ttie  number  of 
drapes  that  can  be  developed  by  the 
trimmer  who   possesses   one   or  more 

of  these  forms.  He  can  make  practically  any  form  drape  that 
he  may  run  across,  because  if  it  is  to  be  made  on  a  full  figure,  he 
has  the  full  figure.  If  it  happens  to  be  on  the  half  shell,  he  has 
two  shell  forms  at  hand.  If  it  should  be  designed  for  use  on  a 
three-quarter  form,  all  he  has  to  do  is  to  take  the  top  off  of  the 
full  form. 

It  must  also  be  remembered 
that  this  full  form  and  the  top 
or  shoulders  can  also  be  used 
for  showing  ready-to-wear.  The 
full  form  is  especially  well 
suited  for  showing  suits,  coats, 
gowns,  etc.,  while  the  shoulder 
forms  is  ideal  for  showing 
wai'^ts.  fancy  collars,  laces,  furs, 
scarfs,  etc. 


This  shows  the  shell  form  draped, 

uses    out   of   a    single   form   that 


drnpe  on  the  Full  Form. 


This  Is  the  %  Form  Draped. 


The  Bust  Trimmed  with  Lace. 


41U 


The  New  Cube  Drapes 


Tl  I  v.  new  "Cube  An"'  and  "Futur- 
ism"  has  struck  the  mercantile 
worhl.      What   is   Cube   art  and 
Futurism,  you  may  ask?     It   is 
the  very  latest  art  theory  to  attract  at- 
tention.    It  is  a  little  bit  of  everything 
and  nothing  in  particular. 

The  Cubist  does  not  attempt  to  por- 
tray that  which  he  sees,  but  rather  that 
which  he  feels.  It  is  not  strange,  there- 
fore, that  his  subjects  lack  the  definite 
form  that  we  are  accustomed  to  see  in 
other  styles  of  art. 

The  Cube  art  is  made  up  of  angles, 
straight  lines  and  a  combination  of  geo- 
metrical figures. 


The  influence  of  this  new  art  and  the  introduction  of  it 
into  the  new  gowns,  wraps,  hats,  ])arasols,  ribbons,  etc., 
is  quite  extensive.  The  materials  come  in  strong,  vivid 
colors  of  yellow,  green,  blue,  orange  and  black,  and  along 
the  same  lines  of  the  Cubist  and  Futurist, 

Weird  and  crazy  as  the  art  may  seem,  there  is  some- 
thing about  it  that  is  really  attractive.  The  Cubist  and 
Futurist  have  hit  Chicago,  and  the  inlhience  it  has  had  on 
fashions  is  plain,  and  is  now  being  considered  by  the  re- 
tail merchant. 

If  there  is  an  intluence  of  C'ubism  and  Futurism,  ihr 
alert  merchant  will  want  to  know  about  it.  and  how  Ik 
of  it  for  his  store  attraction. 


New  Cube  Draping, 
hr  Form 

he  can   lake  advanlas^o 


420 


It  is  possible  t-o  drape  goods  in  some  entirely  new  drajes,  r,^ini;  the  euhes, 
scjuares  and  straight  lines  as  the  l^asis  of  the  (h-a;)cs. 

Even  though  you  may  nut  have  enough  highly  colored  and  ])attcrned  goods 
of  the  Cubist  character  to  fill  a  window,  still  by  means  of  the  Cube  drapes, 
3^ou  can  use  almost  any  fabric  to  carry  out  the  Cube  idea. 

As  accessories  it  will  be  possible  for  you  to  use  large  srjuare  buttons,  bright 
and  large  figured  ribbons,  Bulgarian  eml)roiderics,  etc. 

We  show  in  our  illustrations  a  new  Cube  draping  form,  having  iiothing  but 
straight  lines  and  angles  instead  of  curves.  This  form  is  of  such  a  character 
that  wherever  used  it  will  attract  much  attention,  cs;;ecially  just  now  wdiile 
so  much  attention  is  being  gi\  en  to  Cubist  art. 

We  next  show  two  very  interesting  drapes  made  l)y  Mr.  Will  K.  liates,  of 
the  Koester  School.  These  drapes  show  the  \arious  ])ossibil;ties  in  this 
direction. 

The  first  drape  on  this  page  is  of  a  plain-colored  silk  using  a  l)rightly  colored 
and  figured  Bulgarian  silk  as  a  trimming.  Notice  the  use  of  the  large  square 
buttons,  also  that  the  bow  on  the  left  is  a  square  bow.  This  particular  drape 
has  had  added  two  short  square  arms. 

(Jur  next  drape  shows  the  use  of  the  same  form  with  the  arms.  A  large 
check  pattern  or  shepherd  plaid  silk  has  been  used,  and  is  trimmed  with 
straight,  wdde  bands  and  Cubist  buttons.  Even  the  collar  of  the  form  is  carried 
out  in  Cube  shape. 

Special  attention  is  called  to  the  manner  in  which  the  dra])es  are  pulled  out 
on  the  floor  in  straight  lines  instead  of  curves.  These  drapes  are  finished  off 
at  the  end  with  square  corners,  instead  of  left  in  natural  folds. 


421 


The  New  Peacock  Fashion  Drapes 


ACCORDTXG  to  ancient  fable  our 
anccstrc;  s,  Eve,  in  wandering 
about  t'.:c  p,arden,  held  converse 
with  the  various  animals  and  from 
each  appropriated  some  trait  of  character 
■which  has  been  handed  down  to  her 
daughters  and  makes  its  appearance  to  a 
greater  or  less  degree  ever  since.  Thus, 
from  the  tiger  she  acquired  her  soft, 
velvet-padded  caress,  which  yet  conceals 
sharp  claws;  from  the  lamb,  gentleness 
and  docility  of  nianner;  from  the  cat,  an 
elusiveness  most  tantalizing;  from  tlv- 
hen,  domestic  science;  and  so  on  from 
each  creature  she  learned  something.  IJut, 
by  far  the  most  lasting  trait  of  all  she 
acquired  from  the  peacock — that  of  vanity 
and  an  inordinate  love  of  diess. 

Thus,  it  is  that  in  all  decorative  design, 
the  peacock  has  always  been  used  as  the 
symbol  of  fashion  and  fashionable  wnmen. 
So,  in  casting  about  for  an  entirely  new 
idea  for  a  draping  stand  with  which  to  dis- 
play the  gorgeous  brocades  and  printed 
fabrics  of  the  coming  season,  there  came 
the  thought  of  this  peacock  form  with  the 
result  as  pictured  on  this  page. 


ITS  DRAITXG  IS  SIMPLE 

At  first  glance  it  may  seem  to  be  too 
radical  a  change  from  the  full  forms  and 
conventional  stands  with  which  we  are  ac- 
customed. Yet  in  window  dressing  it  is 
the  unusual  that  stops  the  crowd  and  the 
man  with  the  nerve  to  spring  the  new 
things  and  "do  it  first,"  is  the  one  who 
makes  the  greatest  hit  as  the  window 
trimmer  of  his  town.  The  direct  appeal 
of  this  form — its  suggestion  of  the 
thought,  '"Fashion,"  right  in  connection 
with  the  drape — is  really  more  in  keeping 
with  a  display  of  expensive  fabrics  than 
some  of  the  other  draping  stands  which 
have  enjoyed  great  popularity — for  in- 
star.ce,  the  "mummy." 

The  draping  of  the  form  is  compara- 
tively simple.  The  form  is  being  made 
in  half-relief,  the  body  and  neck  being 
hollow,  and  with  goods  up  to  36  inches 
wide  the  neck  can  be  covered  up  to  tlie 
top  of  the  head  simply  by  rolling  and 
folding  the  goods  around  into  the  hollow 
space.  With  wider  goods  it  would  be 
more  practical  tb  start  the  goods  at  the 
base  of  the  neck  in  covering  the  body, 
and    cover   the   nee!:,   head   and   beak  with 


V 


Here  your  Peacock  drape  is  perched  on  a 
garden   seat. 


422 


Let  the 
Peacock 
Hold  a 
Drape  in 
Its  Bill 


A  clever  way  of  making  a  secondary  drape 
from  the  m.outh  of  the  Peacock. 

■wide  ribbon  wrapped  as  many  time? 
around  as  may  be  necessary.  The  "top- 
knot" is  made  of  ribbon  in  one,  two  or 
three  loops  as  desired.  Aigrettes,  hair 
ornaments  or  even  small  plumes  could 
be  used  for  this  purpose.  A  button  does 
duty  for  the  eye.  The  tail  folds  will  be 
easily  understood,  being  made  much  the 
same  as  with  shell  form  drapes. 

The  drapes  pictured  were  made  with  an 
inexpensive  printed  foulard,  and  how  much 
richer    thev    would    look    in    some    of    the 


new  matelassc  and  brocaded  materials  can 
be  imagined. 

A  background  made  up  in  garden  de- 
sign, with  stone  wall  and  benches  would  be 
especially  good  for  a  display  with  these 
forms.  One  of  the  birds  posed  on  a  gar- 
den bench  with  the  tail  folds  draping 
down  over  the  edge  would  make  an 
effective  centerpiece  for  such  a  window. 
In  the  window  shown  at  the  bottom  of 
this  page,  stone  steps  were  built  across 
the  back  of  the  window  with  a  heavy 
mass  of  foliage  in  the  corners.  The  forms 
were  placed  on  the  floor  and  the  first  and 
second  steps  respectively,  so  as  to  get  a 
gradually  broken  height.  The  doll  forms, 
larought  out  earlier  in  the  year,  were  used 
in  this  display  to  make  a  pleasing  break 
between  the  peacocks. 

It  can  readily  be  seen  that  a  peacock 
drape  of  this  kind  will  lend  itself  particu- 
larly welf  as  part  of  the  outdoor  settings 
so  common  both  in  Autumn  and  Spring 
displays.  A  peacock  drape  will  be  most 
appropriate  if  posed  on  a  garden  wall, 
pedestal,  bench,  balustrade,  steps  or  floor. 
The  addition  of  one  or  two  of  these  drapes 
in  connection  with  the  other  forms  already 
in  stock  will  bring  a  display  strictly  up 
to  date  and  the  first  store  in  town  to  use 
these  drapes  will  naturally  get  much  fav- 
orable attention. 

An  especially  nice  thing  about  this  pea- 
cock draping  form  is  the  fact  that  it  is  so 
easy  to  trim.  There  are  some  forms  very 
hard  to  work  on,  naturally  a  heavy  handi- 
cap to  those  window  trimm.ers  who  have 
not  been  fortunate  enough  to  have  taken 
lessons  in  draping. 


Complete  window  trimmed  with  Peacock  drapes. 
423 


Keep  in  touch 

with  the  new  drapes 

A  feature  of  the  selling  helps  supplied  mer- 
ehaiits  handling 

Arlington  Mills 

Dress   Fabrics  Jm'  American  Women 


Full  instructions  illustrated  by  photographs 
of  five  steps  in  producing  a  drape  without 
cutting  the  cloth. 

Each  month  you  will  get  the  very  newest. 

We  will  mail  suggestions  for  draping  free  to 
any  window  dresser  whose  store  sells  ''AR- 
LINGTON MILLS"  dress  fabrics— the  lead- 
ing line  of  quality  worsteds — known  from 
coast  to  coast. 

We  supply  attractive  lithographed  fashion 
figure  cards  for  window  and  interior  display. 


William  Whitman  &  Co. 

Selling  Agents 

25  Madison  Ave.  New  York 


424 


THIS  is  one  of  a  series  of  drapes  whieh  with  detailed  instruc- 
tions is  issued  free  to  window  dressers  in  stores  sellini^ 

Arlington  Mills  Dress  Fabrics  for  American  Women 

FULL  INSTRUCTIONS  ACCOMPANY  EACH  DRAPE 
TWO  NEW  DRAPES  APPEAR  IN  EACH  ISSUE 

WILLIAM  WHITMAN  &  CO.,  Selling  Agents,  25  Madison  Ave.,  New  York 


425 


Curtis-Leger 


The  Koerber  "3  in  1'"  drap- 
in.i^     form     is     made     in     two 


Sinl 
Drape  Form  T\s^'' ^'' I^'"^;! 

<,■lYccl^,  neckwear  displays,  etc.,  and  is  adjustable  in 
height  on  a  fniished  standard  and  base.  The  lower 
portion  is  mounted  on  an  extensible  standard  with 
a   black  japanned  metal   base. 

The  two  parts  combined  produce  a  draping  form 
with  long,  slender  and  graceful  lines.  The  full  form 
ma}-  also  be  used  for  evening  gowns,  dresses,  cloaks 
and   suits. 

Strongly  made  of  heavy  papier-mache  covered 
with  white  jersey.  The  two  parts  join  perfectly 
and   arc   fastened   with    clasps. 

Net   Price  $9.00   Complete 


Wax  Figures  and  Forms 

We  illustrate  on  this  page  one  of  our  new  1824  forms. 
This  form  has  full  wax  arms  and  bust  and  is  mounted  on 
a  heavy   lOK'   inch  base.     White  jersey  covered.     Also  an 
excellent   form  for   tlie   display   of   evening  gowns. 
Net  Price  $30.00 

Form  No.   1823  is  made  from  the  same  mouhl   as   X>i. 
1824  but   has   flesh   tinted   papier-mache   arms   and   bust. 
N?t  Price  $15.00 

Adjustable   Feet 

Xn.  ISOI).  These  a<lju-stal)le  feet 
can  he  nttnched  to  ixny  costume  form. 
F.specially  valuable  wliere  short  lengtli 
garn-ents   are   displayed. 

Net  Price  $6.50 


Write    for    complete    Catalog   of    Store    Fix 
tures   and   Store   Lighting 

Curtis -Le^er  Fixture  Co. 

Chicago,  111. 


No.  1800 


Xu.  1S24 


42G 


Draping   Forms 


funu  u  II 
liked  by  Un-  n  n 
takes  plcasuir  ];. 
piece  goods.  Its 
tlicmsclves    to    ' 

_ .iful  drapes  and  efVects. 

No.    177.0  B.      Made  in   twr 
scct:ons-(riglit  and  left)\vliicl 
flttogetlier  s-curcly.    W.tlioul 
stub  shoulders.    Net  price  per  pair  $5 

No.  1775  C.  Witli 
stub  shoulders.  Not 
price  per  pair  $6. 

No.  1775.  Made  -n 
on  ■  piece.  Net  price 
per  pair  $5. 

We  also  make  evcry- 
tliing  else  in  tlie  way  of 
fi.xt'.ires,  equipment  and  lighting. 

All  t'lese  forms  liave  btcn  sliown 
throughout  tlie  reading  pages  of  tli  s 
bock.  We  have  formsfor  the  s!io«--ng 
of  any  kind  of  drape.  Write  for  com- 
plete information. 


Curtis-Leper   Fixture  Co.,  ChicaRO 


To  the  Window  Artist 

You^ll  Realize  How    These    Ten   Features 
Make  for  Better  Service 


'I'riiii  At<r:iot,  tOii.sider: 


1.  Originality. 

2.  Tlic  most  Kffer 
ntion. 


iie  Display  for  your  Appropri- 


3.  fie*  Samples  an<1  fiml  wlietlier  or  not  the  Sam- 
ple  Sii.stain.s   the  Ailvertisement. 

4.  The  Units  and  other  Illustrations  publishecl 
by  Schack  Artificial  Flower  (!■<).  are  copied  by  com- 
petitors who  g-uess  at  what  such  prints  mean".  Thus 
the  orifj-inator  as  well  as  tlie  buyer  are  deceiyed 
when  so  pilfered. 

5.  Send  to  Schack  Artificial  Flower  Co.  for  sam- 
ples. 

6.  Or — visit  the  Schack  ^mple  Room,  ren  (Um- 
bering- that  Schack  Artificial  Flower  Co.'s  circi  lacs 
illustrate  only  a  small  part  of  the  Scliack  product. 
Schack  Artificial  Flower  Co.'s  Sample  Room,  located 
at  the  factory,  1739-1741  Milwaukee  Ave.,  Chicago, 
111.,  devotes  one  floor  50x100  or  5000  square  feet  of 
floor  space  to  display  of  their  product.  If  you  want 
to  see  the  effect  of  a  trim. — of  one  or  of  many 
schemes  before  deciding,  it  is  within  your  province, 
without  cost. 

7.  At  the  Schack  Artificial  Flower  Company's 
Sample  Room  you  can  arrange  a  window  to  repre- 
sent your  own, — select  from  over  500  actual  articles, 
the  flower  or  flowers — or  the  Unit  you  please, — ^then 
try  Another  or  Another  scheme  until  you  decide. 

8.  To  visit  Schack  Artificial  Flower  Co.'s  Sample 
Room  is  like  going  shopping. 

9.  Then  if  you  want  a  Special  Design  carried  out 
— flowers  with  longer  stems — flowers  with  shorter 
stems — -flowers  with  more  foliage — flowers  with  less 
foliage — or  any  special  design  prices  will  be  made 
special  because  all  Schack  Artificial  Flower  Co.'s 
orders  are  filled  from  fresh  made  goods,  goods  made 
up  after  order  is  received — the  size,  color  and  other 
particulars  are  then  in  accord  with  the  buyer's  order. 

10.  We  do  not  tell  you  we  have  not  got  it — we 
tell  you  yes.  and  make  up  what  you  want,  so  if  you 
have  an  idea  come  and  explain  it  to  our  expert  de- 
signer and  lie  will  demonstrate  it. 

Schack' s  *'Rock  Crystal" 

This  product  is  now  used  bv  leading  window  trimmeis  everywhere.  It  is  the  most 
practical,  artistic  ami  inexpensive  material  on  tlie  market  for  finishing  architectural  eflfect.s, 
imitation  masonrv  and  other  framework.  Comes  in  fine,  clear  crystals  that  glisten  in  the 
sun  or  electric  light  and  can  be  colored  to  any  desiied  tint  with  brush  or  air  brush. 

Mention  color  or  colors  desired  or  send  sample  to  be  matched  as  near  as  possible.  This 
crystal  is  not  like  the  ordinary  rock  salt  whicli  melts.  Ci-.\stal  remains  in  sliape  and  in 
colors;  will  produce  wonderful  effects.  Convince  yourself  of  tlie  beautiful  effects  obtainable 
with  crystal  bv  seeing  our  show  room,  or  send  for  samiile  and  test  it. 

Instructions  for  application  of  Rock  Crystal,   to  make  rock  efVect,  sent  on  request. 
Write  Today  for  Our  New  Catalog  Just  Out 


SCHACK  ARTIFICIAL  FLOWER  CO. 

1739-1741    MILWAUKEE  AVE.,  CHICAGO,  ILL. 


Schack's  Floral  Decorations 

Are  the  most  beautiful  and  least  expensive  that  you 
can  possibly  procure.  Schack's  flowers,  made  of 
paper,  when  placed  in  the  window  are  as  handsome 
as  imported  flowers  made  of  cloth.  In  shape,  col- 
oring and  design  they  are  as  perfect  as  flowers  can 
be  made.  What,  then,  is  the  advantage  of  paying 
twice  as  much  for  cloth  flowers? 

They  are  substantially  made  from  the  best  of 
materials  and,  with  reasonable  care  in  handling 
they  may  be  used  again  and  again. 

We  have  a  flower  for  every  need  and  the  coloring 
has  to  be  right  as  it  is  done  by  experts.  Write  us 
for  our  latest  catalog — it  contains  many  new  sug- 
gestions that  will  interest  you. 

Visit  Our  Display  Rooms 
When  You  Are  In  Chicago 

We  have  taken  .5,000  square  feet  of  additional 
floor  space  which  has  been  fitted  up  with  full  size, 
model  show  Avindows.  These  windows  are  beauti- 
fully decorated  with  flowers  suitable  to  every  sea- 
son. Here  you  can  see  our  latest  designs  just  as 
they  would  appear  in  your  own  windows.  Our 
special  artist  is  always  on  hand  to  work  out  any  de- 
sign you  may  wish  with  any  flower.  Without  doubt 
this  is  the  finest  display  room  of  its  kind  in  existence. 
It  is  another  Original  Schack  Idea  to  display  flowers 
and  other  decorative  materials  in  model  windows. 
We  believe  that  every  decorator  will  appreciate  the 
advantage  of  selecting  his  materials  under  these 
favorable  circumstances.  Our  splendid  show  room 
alone  is  worth  making  a  trip  to  Chicago  to  see. 

About  Schack's  Floral  Units 

If  you  will  write  us  for  our  large  circular  that  contains  over 
100  designs  and  suggestions  we  will  gladly  send  it  to  you. 

Any  of  these  Units  can  be  built  easily  by  the  average  trim- 
mer, and  the  catalog  will  be  of  great  assistance  in  his  every-day 
work.  In  offering  these  Units  to  the  window  trimming  public, 
we  are  following  the  established  policy  of  the  Schack  Artificial 
Plower  Co.,  which  is  not  only  to  sell  the  best  possible  product 
at  the  minimum  price,  but  to  extend  the  services  of  our  Expert 
Designers  free  of  any  charge  to  our  customers  who  may  need 
them. 

Write  Today  for  full   Paiticiilais.      IJook  of  ])esif>n.s,   etc. 


Efc^^"Y->         '^ 

.y^ 

^^n 

^W 

f^i 

^ 

w 

1 

n| 

■  '"''  i 

^k 

m 

H^ 

H 

p^t 

If    vou    will    <OI 

ipare 

our    ll.)w<r>    uilh 

ll.Mvei>     .v..n     «ill 

lilKl 

that      our      prucs 

are 

priutically  half  that  is   | 

iliarKed        for        « 

■lotli. 

(loth     Howers    art 

not 

iiitfiideil     fur     w  i 

,dow 

<»r    interior   iliror: 

tiiiir. 

hut   are  ma.h-   for 

iiiil- 

linery  purpose-. 

Tappr     Howers 

pos- 

sess     a     (lelieate 

tone 

and       heautiful 

tints 

tliat     liarmomze 

will) 

aii\      mer<  li;iM<lise 

tliat 

uv.xs     Ki.la.ve.l 

SCHACK  ARTIFICIAL  FLOWER  CO. 

1739-1741   MILWAUKEE  AVE.,  CHICAGO,   ILL. 


42y 


MOST   PRACTICAL   FORM   MADE 


FORMS 
IN 


1 


This  form  can  be  used  for  showing  every  possible  kind  of  drape  or 
for  showing-  readv-made  garments,  waists,  etc.  The  full  figure  sub- 
divides  into  bust  form,    s^    form  and  2   half  shell  forms. 

$2 1 .00  Worth  of  Forms  for  $r. 50— Order  a  Set  at  Once 

Jf  vou  bought  these  forms  s.-parately,  you  would  have  to  pay  $7.00  for  the  full  form  $r,  Oft 
for  the  three-quarter  form,  $:{.0U  for  the  shoulder  form,  and  .I..!. 00  for  each  cl  the  half 
forms  Metal  standard  furnished  with  each  form.  I^inished  m  white  witli  llesh  enameled 
ImstST  50  Covered  with  white  jersev,  with  flesh  enameled  bust,  $10.00.  This  is  the 
greatest 'form  ever  designed  and  at  a  price  that  makes  it  possible  for  every  trimmer  to 
forms  in  one.  \       |  Don't  delay — 

order  at  once. 


;et 


Here  are  Other 

Staii«lN   and    Forms 

for  Drupiug; 


ih 


IV  o.    220. 

For   showing    3 
s.-i)aiat..     pat- 
terns  of   goods, 
per    doz., 
«30.00 


■<IJ) 


We  sell 
every    kind 
of  draping 
stand  or 
form  that 
is   made. 

AVrite  for 
(atnlouriie. 


No.   .{01. 

Draping    stand, 
per    do-/,., 


No.   21.'$. 

iVIost     practii-al 

all     a  r  o  u  n  d 

drape  Stan  d 

made,   only, 

lier    doz., 

.IfJl.OO 


xo.  ii:i. 

Waist  form  for 

draping    silks    and 

waist  ings     oi-     for 

showing    read  y- 

luade    waists. 

Tier  do--c..   *S«.00 


Superior  Brass  &  Fixture  Co."' 


iriTS  of  ovrrytl 
lore  equipment 
store    lighting 


no  316-318  W.  Jackson  Boul. 
CHICAGO 


430 


The  Most  Satisfactory  Decorations 

f>ir  Windows.  Slorc  JiUcriur>,  lUnilhs,  l'!i)al>  and 
in  fact  every  kind  of  Store  Trim  are 

BAUMANN'S    ARTIFICIAL 
FLOWERS 

The  Cloth  flowers  are  not  cmly  tlie  most  reah>lic 
hut  hecause  of  their  suhstantiid  construction  can 
be  used  over  and  over  ag;ain.  thus  eitectinj:^:  a 
great  saving-. 

New  Decorations  Every  Season 

We  are  the  first  to  present  each  season  the  newest  ideas  in  decorative 
worked  up  in  the  latest  colorings. 

On  account  of  the  originality  and  because  of  the  beauty 
of  our  flowers  we  have  for  many  years  been  furnishing  the 
floral  decorations  for  the  foremost  stores  of  this  country,  such 
as  [Marshall  Field  &  Co.,  ]\Iandel  Bros.,  Chas.  A.  Stevens  & 
Bros.,  and  most  of  the  great  stores  throughout  the  United 
States. 

The  recommendation  of  such  firms  as  these  and  the  fact 
that  they  use  our  flowers,  can  oifly  mean  that  we  give  the  best 
goods,  the  best  value  and  the  best  service. 

You  Can  Get  the  Same 

We  have  everything  that  you  can  possibly  want  in  the  way  of  artificial 
foliage,  such  as  natural  preserved  branches,  palms,  etc.,  air  brushed  foliage  or 
foliage  colored  to  suit  you,  or  all  white  foliage,  every  grade  of  cloth  foliage, 
artificial  fruits,  made  up  pieces  such  as  wreaths,  garlands,  baskets,  etc. 


fiowers 


^^ 


¥. 
^ 


# 


? 


Write  at  once 
for  our  latest  cata- 
log and  circulars — 
they  show  illustra- 
tions of  our  goods 
in  natural  colors. 


•'-■•, 

Visit    our    large 

^ 

display  rooms  when 

^ 

in     the     citv — vou 

i 

will     find     it     verv 

i..^ 

helpful. 

L.   BAUMANN  &  CO. 

357-359  W.  Chicago  Ave.  -  CHICAGO 


431 


USE  UPSON  BOARD  FOR  ALL 
YOUR  SHOW  WINDOW  WORK 


UPSON  BOARD  is  the  Easiest  and  Quickest  Decorative 


Here  are  the  Facts 


IMade  from 
Pure  Wood  Fibers 
UPSON  BOARD  is  mailp  only 
from  pure  wood  fibers  fresli 
from  the  forest.  It  does  not 
<'Oiit;nn  any  coarse  riarl;- 
brown  or  gray  fibers  wliicli 
are  clieap,  unsanitary  and 
lacking  in  strength. 

2  Harder  and 
StifTer 
I'P.SOX  BOARD  is  harder 
and  stilTer  than  an}'  other 
board  because  it  is  put  tn- 
gether  with  greater  pressure-, 
while  the  UPSON  method  of 
processing  still  further  stiffens 
the  board. 


rrsoX  BOARD  has  the  most 
perfect  painting  surface  of  any 
wall  hoard.  It  doi  s  not  need 
a  sizing  coat,  as  there  is  little 
or  no  suction  for  I);iiri1.  Prac- 
tically every  other  ho.ird  re- 
quires a  priming  coat. 


Kllher  the  smooth  nr  the 
pebbled  side  of  UPSON 
BOAlll)  can  be  used.  Tlie 
pebbling  will  never  come  out. 
Most  other  boards  can  only  bo 
used  on  one  side  while  tiie 
pet)bllng  disappears  when  the 
1  oard  Is  exposed  to  dnmpnc.«s. 


Board  to  Apply  and  Finish 

It  is  al.so  a  harder  and  more  serviceable  board,  thus 
making  it  better  adapted  for  use  in  making  columns, 
posts,   pedestals,    platforms,   etc. 

UPSON  BOARD  comes  ready  sized  or  primed.  It 
does  not  require  a  priming  coat  of  varnish  or  shellac 
to   •■flU"   its   surface  and  stop  the  suction. 

Ul'SON  BOARD  is  ready  for  use  when  it  comes  to 
you.  .Tust  cut  into  shape.  Then  slap  on  a  coat  of 
any   kind   of  paint,    water  or   oil   and    it   is   done. 

This  ease  of  finishhig  means  lliat  ynu  ran  save  from 
$.1.00  to  $1.5.00  per  1000  sqnair  f,ri  in  Ih..  cnst  of 
finishing  and  from  two  to  thnr  (l.i\s  m  iinir.  .\ii.l 
you  get  the  .strongest,  stilft-t  an.l  i..ui.'lii>t  tibrr 
board  on  the  market— a  board  lliat  is  kihi  cured  and 
water-proofed — a  board  that  is  just  as  serviceable  as 
wood  veneered  boards  that  cost  $15.00  per  thousand 
more. 

UPSON  FIBER  STRIPS 

Tpson  Fiber  Strips  make  one  of  tlie  handiest  dec- 
orative accessories  you  can  have  around  your  store. 
Wlietlier  you  use  decorative  board  or  not  you  will 
find  these  strips  aseful  for  making  lattice  work, 
fences,  and  imitation  lumber,  special  display  stands 
or  forms.  Tliere  Is  nothing  so  cheap  or  so  easily 
handled. 

UPSON  FIBER  TILE  OR  BRICK 

Tills  new  decorative  Fiber  Board  has  the  surface 
pressed  to  imitate  a  tile  or  l)rick  surface.  By  fin- 
ishing oir  in  white  enamel  or  colored  paints  you  get  a 
perfect  imitation  of  tile  or  brick.     Write  for  a  sample. 

Wliy  not  send  in  an  order  now.  today,  for  your  next 
trims?  You  run  no  risk,  because  every  panel  is 
guaranteed  to  be  up  to  the  quality  of  the  sample, 
whicli  wc  will  gladlv  send  you,  if  you  are  not  already 
fandliar  with  UPSON  BOARD. 

The  Upson  Company 

LOCKPORT,    N.  Y. 


Places    to    Use    it 


UPSON  BOARD  can 
be  used  from  cellar  to 
garret  of  your  store. 

Some  of  the  largest 
stores  have  it  on  their 
walls  and  ceiling's. 

Scores  of  others  use 
it  for  decorative  pur- 
poses. 

But  note  the  inany 
places  it  can  be  used! 
Perhaps  you  may  be 
reminded  of  some 
place  you  can  use  it 
ri!?bt  now. 

T^'alls 

Ceilings 

Window  backgrounds 

Booths  and  exhibits 

Signs 

Closets 

Partitions 

ISrodcl  rooms 

Cloak  rooms 

Fitting    rooms 

Screens 

Storage  rooms 

Special  display  forms 

Telephone  booths 

Show  case  backing 


43-: 


415 


Drapes  on  Forms  of  Htgh  Lyons  &  Co.,  Lansing,  Mich. 


SHELL    FORM    DRAPE 

WE  give  on  this  and  the  following  pages  complete  instruc- 
tions on  how  to  drape  eight  of  the  best  draping  forms 
taken  from  our  line. 

It  has  been  demonstrated  that  the  best  way  to  show  yard 
goods  of  any  kind  is  to  drape  them  on  draping  forms. 

We  have  specialized  on  the  form  end  of  our  business  until 
today  we  believe  we  have  absolutely  the  most  complete  line  of 
practical  draping  forms  in  America. 

Not  only  are  the  forms  made  up  in  the  best  manner,  but 
their  dimensions  and  shapes  are  such  that  they  are  correct  from 
the  fashion  standpoint  and  easy  to  drape. 

The  fault  with  many  forms  on  the  market,  is  that  they  are 
not  designed  by  men  who  can  drape  and  therefore  are  not  prac- 
tical as  a  draping  form,  even  though  they  may  be  good  looking. 

We  are  getting  out  new  forms  every  little  while  and  have 
many  others  besides  those  shown  here,  but  as  it  would  be  mani- 
festly impossible  for  us  to  include  all  of  them  here,  we  must 
content  ourselves  with  showing  you  a  few  of  our  most  staple  and 
most  popular  styles. 

No.  421  shown  on  this  page  is  the  present  day  design  of  the 
original  shell  draping  form  and  is  the  most  used  draping  form 
in  use  to  day.  Made  in  lefts  and  rights  and  will  stand  without 
the  use  of  braces price,  each,  $2.50 


Write  for  Our 
Complete   Catalogue 


Drapes  on  Forms  of  Hk.h  Lyons  &  Co.,  Lansino,  Mich. 
HOW  TO    DRAPE 


As  a  practical  draping  fixture,  the  half  shell  form  holds  its  own,  and  will  probably  never 
outlive  its  usefulness  in  window  display.    For  quick  work  some  very  good  results  may 
be  had  by  draping  it  to  just  give  a  suggestion  of  a  new  style  feature.     It  should  be 
understood  that  the  half  shell  is  never  intended  for  regular  dress  drapes.    The  effects  secured 
on  it  should  be  more  conventional,  and  whatever  style  feature  is  brought  out  should  be  made 
very  plain  and  simple  so  as  to  be  easily  understood. 

This  is  illustrated  in  the  photo  in  the  way  the  "draped"  skirt  idea  is  shown.  The  end 
of  the  goods  is  started  at  the  waist  line  and  fits  smoothly  over  the  hips  and  falls  straight 
down  to  the  floor.  Then  on  the  front  selvedge  make  three  small  plaits  and  pin  to  the  edge 
of  the  form  as  shown  in  No.  1.     This  will  throw  the  line  of  the  goods  toward  the  front,  so 

drape  the  goods  around  the  front  and 
up  across  the  back  as  in  No.  2.  Pin 
to  the  back  edge  of  the  form  and 
drape  away  in  the  two  folds  to  the 
floor.  Now  double  the  goods  back 
underneath  the  folds,  carry  up  inside 
the  form  and  use  the  other  end  to 
cover  the  top  (No.  3). 

This  way  a  smoother  fit  can  be 
had  and  with  less  strain  on  the  goods 
than  when  the  goods  is  started  at  the 
top  and  drawn  in  at  the  waist  line. 

For  trimming,  make  a  wide 
girdle,  or  belt  of  fancy  ribbon,  and 
bring  the  ends  around  and  tie  in  a 
knot  in  sash  effect. 


Write  for  Our  Complete 
Catalogue  of  Store  Fixtures 

HUGH    LYONS  &  CO. 
Lansing,  Mich. 


417 


Dhai'ks  on  I\)r.ms  of  Hrc.n  Lyons  &  Co..  Lansing.  Mich. 


MUMMY    FORM    DRAPE 

AI)RA1'1£    suital)lc    for   novelty    silks, 
especially  foulards,  using  a  plain  color 
silk  to  line  the  form  in  either  the  same 
or  a  contrasting  shade. 


First,  cover  the  form  smoothly 
with  the  plain  silk,  starting  the  end 
on  the  floor  and  carrying  up  over  the 
top  as  shown  in  No.  1.  Then  take 
the  novelty  silk,  fold  double  at  the 
end  of  the  goods  and  pin  the  folded 
edge  about  half  way  up  on  side  of 
the  form  (No.  1).  Drape  down  to 
floor  keeping  goods  in  double  fold, 
then  return  to  edge  of  form  with 
goods  opened  out  full  width.  Pin 
selvedge  at  edge  of  form,  then  carry 
diagonally  across  front  over  shoulder 
(No.  2).  In  fitting  goods  to  side  of 
form,  push  surplus  up  toward  top 
and    underneath    goods    extending   at 


Drapes  on  Fohms  of  llrciu  Lyons  &  Co.,  Lansing,  Mm: 


shoulder,  which  will  form  the 
long  rcvcr  collar  effect  across 
front. 

Next,  two  loops  arc  formed  in 
liack  hanging  from  the  shoulder, 
each  with  a  lining  loop  of  the  plain 
color  inside,  and  all  the  loops  to 
be  in  graduated  lengths  (No.  3). 

Then  drape  goods  down  in  the 
hack  and  form  the  sweep  of  the 
goods  down  to  the  floor  and  back 
again  at  left  (No.  4).  Arrange 
each  of  these  sweeps  as  a  box 
plait. 

Trimming — a  strip  of  lace 
across  front,  with  a  large  double 
bow  of  ribbon  at  the  side  of  the 
form. 


Xo.  446— Made  of  papier- 
mache  and  covered  w^ith  best 
quality  white  jersey.  Stands  5 
feet  high  and  has  13-inch  base. 
The  lines  of  this  form  are  most 
graceful  and  when  trimmed 
makes  a  very  attractive  dis- 
play  price,  each,  $5.00 


Several  of  these  Mummy 
Forms  No.  446  will  give  variety 
to  your  yard  goods  displays. 
Order  one  or  more  from  near- 
est office. 

HUGH  LYONS  &  CO. 

Lansing,  Chicago,  New  York. 


C 


41!"> 


Drapes  on  Forms  of  Hugh  Lyons  &  Co..  Lansing,  Mich. 


It  is  an  especially  easy  form  to  drape  because  there 
are  no  hips  over  which  to  draw  goods.  ]\Iany  trimmers 
have  trouble  with  the  draping  of  figures  on  account  of 
the  many  curves,  notably  the  hips. 

In  draping  this  original  Mermaid  Form  of  ours  the 
goods  are  all  draped  from  the  upper  part  and  the  goods 
allowed  to  fall  in  natural  folds. 

It  stands  5  feet  high,  upper  part  shaped  with  full 

neck  and  bust  and  tapers   from   waist  line  down  to  5 

inches  at  base.     Base  is   12   inches  in  diameter.     This 

form  is  covered  w^ith  white  jersey,  with  the  exception 

of  the  yoke,  this  being  flesh-colored  enamel. 

Trice,  each    $5.00 

Xock  can  bo  cut  nut  \'  shaped  if  desired. 

Order  No.  443.    Made  only  by 
HUGH    LYONS    &    CO. 
420  Lansing,   Mich. 


Dkapes  on  Forms  of  Hugh  Lyons  &  Co.,  Lansing,  Mich. 


HOW    TO    DRAPE 


THE  drape  may  be  made  with  any  silk  or  mercerized  material   ranging  from   19  to  27 
inches  wide. 

Fold  the  end  of  the  silk  under  about  two  inches  and  pin  across  the  front  of  the 
form  high  up  on  the  bust.  Then  draw  the  goods  straight  down  to  the  floor  and  pin  around 
the  stem  as  in  N,o.  1.    Puff  the  goods  loosely  around  base  and  then  carry  out  to  the  side. 

Now  start  with  the  other  end  of  the  goods  and  pin  up  on  the  left  shoulder,  forming  a 
12  inch  loop  here.  Drape  down  in  a  festoon  across  the  front  and  pin  the  same  selvedge  about 
half  way  up  in  the  back  (No.  2). 

From  this  point  carry  completely  around  the  form  and  up  to  the  right  shoulder.  Here  is 
formed  another  12-inch  loop.  Thence  the  goods  drapes  out  in  a  long  sweep  across  the  back 
to  the  point  on  the  floor. 

In  following  the  arrows  in  the 
drawing  it  should  be  kept  in  mind 
that  you  work  first  from  one,  then 
from  the  other  end  of  the  goods,  and 
the  arrows  are  to  indicate  the  differ- 
ent steps  FROM  THE  ENDS  of  the 
material  to  the  point  where  they 
meet. 

Arrange  the  loops  at  the  shoul- 
ders in  two  folds.  The  festoon  loops 
crossing  each  other  in  front  should 
be  arranged  in  two  or  three  folds,  de- 
pending on  the  width  of  the  material. 
For  trimming  is  suggested  a  band 
of  lace  across  the  bust  with  the  ends 
brought  over  the  shoulder. 


We  carry  a  most  complete 
line  of  other  draping  fix- 
tures, besides  papier- 
mache  forms. 
They  are  made  in  both 
wood  or  metal  and  com- 
prise T  stands,  curved 
top  stands,  slab  top 
stands,  etc.,  etc. 
Why  not  get  our  complete 
Catalog? 

HUGH    LYONS    &    CO. 
Lansing,  Mich. 


421 


Drapks  on  Fohms  of  Hrc.H  Lyons  &  Co.,  Lansing,  Mich, 


DRAPE  FOR  FULL  FORM  WITHOUT  NECK 

THIS  style  of  full  form  makes  draping  easy  as  it  docs  away  with  the  need  of  fitting  the 
goods  to  both  sides  of  the  neck.     It  is  used  more  often  in  making  conventional  drapes, 
something  on  the  order  of  the  shell  or  miunniy  forms,  than  it  is  in  carrying  out  strictly 
dress  features. 

In  this  particular  drape,  start  the  end  of  the  goods  over  the  top,  exactly  in  the  center. 
Fit  snioothly  down  the  front  and  draw  in  at  the  waist  line  on  each  side  (No.  1).  Also  pin 
^^^^^^^^^^^^^^^^^^^  goods  around  to  back  at  the 
Xo.  463— A  very 
practical  draping 
stand  w-ithout  neck 
or  arms,  making  an 
ieasy  form  to  drape 
for  inexpe  r  i  e  n  c  e  d 
trimmers.  Stands 
five  feet  high  and  is 
covered  with  be-t 
grade  white  jersey. 
This  form  makes  an 
unusually  attractive 
display. 
Price,  each  $5.00 


shoulders     bringing     out 
shape  at  the  top. 

Allow  a  little  fullness  on  the 
floor  and  drape  selvedge  across 
front  pinning  up  in  back  about 
18  inches  from  the  floor,  as  in 
No.  2.  Then  form  loop  out  on 
floor  about  a  yard  and  a  quar- 
ter long,  which  makes  the 
sweep  out  to  the  front. 

Now  start  from  the  other 
end  of  goods  and  measure  for 


422 


Drapes  on  Forms  of  Hugh  Lyons  &  Co.,  Lansino,  Mk  ii. 


the  combined  sash  and  girdle  effect 
around  form.  When  the  proper  length 
to  make  this  is  secured,  pin  the  selvedge 
in  center  of  the  back  allowing  the  bal- 
ance to  drop  down  to  the  floor  as  indi- 
cated in  the  dotted  lines  in  Xo.  3.  Wrap 
the  goods  completel_v  around  the  form 
making  the  girdle  in  shirred  effect.  Then 
carry  down  across  front,  draw  the  end 
through  a  large  buckle  as  shown  in  the 
sketch  No.  4  allowing  about  12  or  15 
inches  to  hang  as  a  sash  or  pendant  at 
the  side. 

For  trimming,  a  band  of  ribbon  is 
placed  diagonally  across  bust,  ending  in 
three  graduated  loops  on  shoulder. 

Get  our  big  Complete  Catalogue 
that  lists  every  kind  of  equipment  for 
the  Store. 


Drapes  on  Forms  of  Hugh  Lyons  &  Co.,  Lansing,  Mich. 


FULL  FORM  DRAPE 

THIS  is  our  most  popular  draping  form.     It  can 
be  had  without  arms  as  shown  here  or  with 
short  arms  as  shown  later  on. 
This  is  a  perfect  form  because  it  gives  a  correct 
iiutline  of  the  body,  thus  allowing  you  the  greatest 
possible  latitude  in  designing  your  drapes. 

Of  the  most  approved  shape  to  properly  show 
the  latest  styles  in  draperies.  Yoke  is  removable 
wliich  allows  for  a  high  or  low  trim.  The  finest  of 
abrics  may  be  used  without  wrinkling.  Made  of 
heavy  papier-mache  and  covered  with  best  quality 
white  jersey.  Yoke  finished  in  our  washable  flesh 
colored  enamel Price,  each,  $5.50 

Order  these  forms  from  any  one  of  our  offices, 
HUGH  LYONS  &  CO., 

Lansing,  Mich.;  Chicago,  111.;  or  New  York,  N.  Y. 


Dhapes  on  Forms  of  Hi  on  Lyons  &  Co.,  Lansing,  Mich. 


HOW  TO  DRAPE 


A  TAILORED  effect  in  a  drape  that  is  suitable  for  most  double  fold  wool  goods.  Start 
the  end  of  the  goods  at  the  waist  line,  the  center  of  the  goods  exactly  in  the  center 
of  the  form.  (Xo.  1.)  Drape  smoothly  down  the  front,  then  catch  the  skirt  up 
in  two  small  plaits  in  front  as  shown  in  No.  2.  These  plaits  should  not  be  made  too  deep, 
else  the  draped  effect  will  appear  too  heavy.     Cover  the  two  pins  used  w^ith  suitable  buttons. 

Down  on  the  floor  fold  the  goods  back  underneath  to  get  a  nice  rounded  effect. 

Then  with  the  goods  folded  double  (right  side  outside,  of  course),  brir.g  up  in  the 
back  and  around  side  of  the  form  and  up  over  left  shoulder.  Pin  the  folded  edge  at  bust 
and  fold  back  as  it  goes  over  the  shoulder  to  form  lapel.  This  is  clearly  shown  in  No.  3. 
Fit  the  goods  in  around  the  waist  line  allowing  surplus  to  hang  from  the  shoulder  to  suggest 
sleeve.  Then  to  get  the  cut-away  effect  in  the  coat,  the  front  edge  is  folded  up  underneath 
as  it  fits  around  the  hip  to  the  back. 

Allow  enough  goods  in  the  back  to  carry  across  to  other  shoulder  and  form  the  other 
side  of  the  coat  in  the  same  w-ay. 

Wide  velvet  ribbon  can  be  pinned  around  the  edge  of  the  sleeves  to  give  a  cuff  effect, 
or  a  regular  coat  set  of  lace  can  be  used  on  both  sleeves  and  collar.  Buttons,  of  course, 
must  be  used  to  finish  the  coat,  three  of  them  being  placed  as  shown. 


Dhai'KS  on  I'omms  of  High  Lyons  &  Co.,  L.xNsiNt;.  Micii. 


ARM  FORM  DRAPE 

This  is  one  of  the  late  additions  to  our  hne  of 
draping  forms.  It  has  the  proper  Hnes  to  properly  dis- 
play the  latest  styles  in  draperies.  The  arms  are  at- 
tached to  the  form,  which  makes  the  drape  firm.  The 
neck  is  removable,  thus  allowing  either  a  high  or  low 
trim.  The  curves  are  such  that  the  finest  fabrics  may 
be  used  without  wrinkling.  The  form  is  made  of  heavy 
papier-mache,  stands  five  feet  high,  and  is  covered  with 
best  quality  white  jersey.  The  yoke  is  finished  in  our 
washable  flesh  colored  enamel.     Price,  each,  $G.50. 

HOW  TO  DRAPE 

The  characteristic  feature  of  this  drape  form  is  the 
short  papier-mache  arms  built  onto  the  form,  which 
makes  it  very  convenient  for  showing  short  sleeve 
effects. 

Start  the  end  of  the  silk  at  the  waist  line  in  the 
back.  Bring  up  over  the  shoulder  and  down  to  the 
waist  line  in  front  (No.  1).  Fit  around  waist  and  then 
take  outer  selvedge  up  and  pin  tightly  around  end  of 
short  sleeve.  Then  puff  or  plait  surplus  width  of  silk  up 
on  arm.  Draw  up  under  arm  and  lit  waist  loosely  in 
blouse  effect. 


Dhapks  ox  Foi^ms  of  Ik  oh  Lyons  &  (.0.,  L\nsin(,.   Mi 


Now  draw  selvedge  down  and  fit  smoothly  to 
form,  and  at  about  knee  height  start  making  three 
plaits  as  shown  in  No.  2.  These  folds  are  al- 
lowed to  drape  loosely  around  to  back,  the  surplus 
folded  underneath  and  the  two  short  skirt  folds 
to  floor  formed  as  shown  in  Nos.  2  and  3. 

The  other  side  of  the  skirt  comes  down  diag- 
onally across  front  and  covers  edge  of  these  plaits 
and  is  fitted  around  side  of  the  form  to  the  back. 
The  surplus  goods  on  both  sides  of  the  form  is 
fitted  to  the  form  so  as  to  show  the  contour  of  the 
form  around  the  knees. 

Narrow  ribbon  or  lace  can  be  used  to  outline 
the  diagonal  line  of  the  skirt.  Wide  silk  ribbon 
forms  the  collar  and  also  the  sash  and  girdle. 

Notice  how  this  form  is  drawn  in  at  the  knees 
in  order  that  the  tight  skirt  effect  can  be  perfectly 
imitated.  This  form  has  been  pronounced  by 
draping  experts  to  be  the  very  best  draping  form 
ever  brought  out. 

These    forms    can    only   be   had    from 
HUGH    LYONS  &    CO.,   of    Lansing,    Mich., 
or  from  their  salesrooms  in  Chicago  or  New  York. 


<^-J-c. 


Drapes  on  Forms  of  Hugh  Lyons  &  Co.,  Lansing,  Mich. 


FULL  FORM  DRAPE 

THE  special  advantage  of  this  form  is  that  it  may  be  fitted  with 
hosiery  and  footwear  to  match  each  individual  drape,  a  desira- 
ble feature  in  draping  slit  skirt  or  short  skirted  effects. 
The  top  being  finished  in  flesh  tint,  is  not  covered  with  lace  as  is 
usual  in  form  draping,  but  a  narrow  band  of  velvet  ribbon  is  pinned 
around  the  neck.  The  end  of  the  goods  is  started  up  at  the  top,  the 
two  corners  being  folded  under  and  the  pointed  end  pinned  to  the 
ribbon  as  in  No.  1.  The  goods  should  then  be  fitted  in  at  the  waist 
line  and  straight  down  the  front.  At  about  knee  height  on  the  right 
side  start  to  form  two  or  three  small  plaits  on  the  selvedge,  pinning 
around  in  the  back  to  form  the  draped  effect  across  the  front. 

Now  bring  the  other  end  of  the  material  up  over  the  right  shoulder 
having  the  goods  folded  double.  Fit  around  waist  line  and  under 
shoulder,  allowing  surplus  to  hang  from  shoulder  to  suggest  sleeve. 
Allow  sufficient  goods  to  cover  back  of  the  waist,  then  form  a  loop 
out  of  the  folded  goods  long  enough  to  reach  over  the  shoulder  and 
down  to  the  waist  line.  This  is  shown  in  sketch  No.  2.  After  this  side 
of  waist  is  fitted  on  in  surplice  effect,  take  the  goods  that  falls  down  in 
the  back  and  fit  to  the  waist  line,  selvedge  turned  under  and  coming 
down   left   side   of   form.     At   point   above  knee   from   which   skirt   is 


draped,  form  a  three  inch  loop  in  selvedge, 
(No.  3),  then  continue  down  to  the  floor.  The 
small  loop  is  laid  in  several  small  plaits  and 
the  pin  that  holds  them  to  the  form  is  covered 
with  a  button. 

Out  of  the  surplus  goods  in  the  back  make 
short  sweeps  out  to  the  floor.  Trimming 
girdle  of  fancy  ribbon,  ending  in  large  double 
bow  at  side.  Also  a  piping  of  same  ribbon  as 
used  around  neck  to  outline  the  surplice  of  the 
waist. 


(J-JC 


Drapes  on  Forms  of  Hugh  Lyons  &  Co.,  Lansino.  Mk  if. 


The  body  is  made  of  papier-mache  and  is  cov- 
ered with  high  grade  white  jersey.  The  feet  are 
made  of  steel  and  are  jointed  at  the  ankle  in  order 
that  the  form  may  be  placed  in  the  proper  position 
after  putting  on  the  shoes.  This  form  will  stand 
erect  without  the  aid  of  braces.  Price,  each  $8.00. 
Send  your  order  to 
HUGH  LYONS  &  CO.,  Lansing,  Mich. 


Send  for  our  Complete  Catalogue  of 
Store  Fixtures. 


I)mai>i:s  on  Fohms  of  IIk.h  Lyons  &  Co.,  Lansing,  Mich. 


This  is  our 
column  draping 
form.  Very  ef- 
fective work 
may  be  done 
with  this  form. 
Stands  6  feet 
high  and  is  12 
inches  in  diam- 
eter. Covered 
with  best  quality 
white  jersey. 
Price,  each  s.'i.uo 

Hugh    Lyons 
&    Co., 

Laiisinu,     Mi 


COLUMN    STAND 
DRAPE 

A.\    (.'fl'ective   draping   stain 
for  cither  silks  or  double 
fold     wool     goods.       A 
great  variety  of  effects  can  be 
secured   by  covering  the   stand 
with  different  materials  such  as 
the    wood   grain    papers,   onyx, 
marble     or    bark    papers,     and 
making  the  drape  so  as  to  al- 
low part  of  the  stand  to  show. 
In    the    drape    given,    the 
column    is     finished    in    white 
marble    effect,    and    the    goods 
draped    around    it    in    a    very 
simple     festoon 
loop.  Start  with 
the  end  out  in  a 
long    sweep    at 
the  left,  and  pin 
the  selvedge  up 
at    the    top    of 
the    column    in 
the    back    as 
shown  in  No.  1. 
Then    keeping 
the     same     sel- 
vedge, drape  the  goods  around  the  front  andijback  up  to  the  same 
point  at  the  top.  then  awav  in  the  long  sweep  to  the  floor  at  the 

right  (No. 2). 

Arrange  the  two 

long    sweeps,    each 

^  in     three      distinct 

<nn  folds  and  the  loop 

(—-t)  around  the  column 

can  lie  arranged  to 

fall  in  three  or  four 

folds   according  to 

the     width    of   the 

goods.  These  folds 

should  be  followed 

lip  all  the  way  to  the 

top  so  that  each  is 

kept  distinct  until 

the  very  point 

reached. 

A     festoon 

of    small    silk 

roses  is  hung 

around   the 

top  of  the 

lumn. 


i'his  same  drape  would 
work  up  nicely  using  two 
pieces  of  material,    say  for 
instance,  alight  and  a  dark,  or 
vJ-C.  Jt  plain  and    fan 

^^    -^combination.   Cover  the 
Or  the  drape  can   be    \\  ^^^  ^^/^         column    first  perfectjv   smooth 

made   covering  the  col-      ^\       >^=~--_  00""^  ^vith  the  light  color  and   drape 

umn   and    all   with    the  \C'^-^^,.jX^  the  dark  color  around   ■ 

same  i)iece  of   material. 

starting  the  end  at  the  top,   fitting  down   over  cohunn.  puffing  up  loosely  on  floor  to  right 
and  then  making  the  same  sweeps  and   festoon  as  before. 

430 


HELP  YOU  MAKE  SALES 


It  makes  no  difiference  what  retail  busi- 
ness you  are  in,  a  modern  KAWXEER 
STORE  FRONT  (one  made  to  fit  com- 
mercially) will  increase  your  business. 
The  30,000  and  more  KAWNEER  STORE 
FRONTS  that  have  been  installed  are 
proof.  Merchants  in  big  cities  and  small 
towns  have  installed  KAWNEER  STORE 
FRONTS  for  the  one  big  reason  of  in- 
creased business — they  have  benefited — so 
can  you. 

Wherever  you  go  you'll  see  KAWNEER 
STORE  FRONTS— each  one  making 
money  for  the  Merchant  behind  it — each 
one  boosting  dividends. 

Made-to-Fit  Fronts 

Our  experience  in  the  planning  and  in- 
stallation of  modern  KAWNEER  STORE 
FRONTS  has  been  the  experience  of 
thousands  of  Merchants.  Paid-for  expe- 
rience has  taught  us  your  Store  Front  re- 
quirements. 

Your  only  business  excuse  for  the  instal- 
lation of  a  new  Front  is  to  modernize — in- 
crease your  business.  Then  why  not  profit 
by  the  experience  of  other  Merchants? 
Your  new  Front  must  be  built  around  your 
business  in  order  to  increase  your  sales — 
in  order  to  pay  for  itself. 

The  KAWNEER  FRONTS  that  stand 
today  have  paid  for  themselves  by  the  in- 
creased sales  they  have  made — put  one  in 
your  Store  and  let  it  pay  for  itself. 

Let  us  help  you  determine  the  type  your 
business  needs. 

Kawneer — the  Original 

Back  in  1906  KAWNEER  was  placed  on 
the  market.  It  was  the  original,  all-metal 
Store  Front  and  was  designed  to  fill  your 
commercial  and  technical  requirements. 
A  KAWNEER  FRONT  is  permanent- 
only  solid  copper,  brass,  bronze  or  alumi- 
num is  used.     Won't  rust,  rot,  warp  or  de- 


teriorate— you  needn't  paint  it  or  repair  it 
— one  check  pays  the  whole  bill. 

And  a  KAWNEER  FRONT  will  not 
leak — ^it  can't  because  the  solid  metal 
mouldings  interlock — water  can't  drive  or 
seep  through. 

In  KAWNEER  the  old,  time-tried 
method  of  show  window  ventilation  has 
been  scientifically  applied.  It  directs 
enough  cool,  dry  air  along  the  inside  sur- 
face of  the  show  window  glass — wliere  it 
is  effective.  This  system  of  ventilation  has 
resulted  in  the  constant  service  of  thou- 
sands of  KAWNEER  STORE  FRONTS. 
365-day-and-night  window  service  is  bound 
to  push  the  sales  of  any  Store. 

Merchants*  Store  Front  Book 

Years  of  experience  has  given  us  a  mul- 
titude of  practical,  sales-making  Store 
Front  ideas.  To  help  you  build  a  Store 
Front  that  will  increase  your  business 
we've  compiled  a  book — compiled  and 
printed  for  you  to  read  and  profit  by. 

It  contains  photographs  and  drawings  of 
many  of  the  finest  big  and  little  Store 
Fronts  in  the  country.  The  information 
will  not  only  interest  you  but  will  give  you 
ideas  to  apply  to  your  business — this  in- 
formation is  the  boiled-down  experience  of 
thousands  of  Merchants.  Just  drop  a  card 
for  this  book — no  obligation  on  your  part 
— ■yours  for  the  request. 

Kawneer  Manufacturing 
Company 

Francis  J.  Plym,  President 


NILES 


HOME  OFFICES 

-      -     MICHIGAN 


Factories, 
Niles,  Mich. 
San  Francisco,  Cal. 
Toronto,  Can. 


\Nc^.  have  a  branch 
near  you. 


449 


MODEL  DRAPING  FORMS 


Panier  Drape  Form  SSZlg-E. 
Plain  and  Draped. 


ARE  THE   NEWEST 
AND   BEST   YET 

We  are  inventors  and  manufacturers  of  IMotlel 
Display  and  Drapins  Forms.  Their  imiversal  use 
Ihroushout  the  country  is  better  evidence  of  merit 
than  anything  we  can  say  in  their  favor. 

Panier  Drape  Form  No.  58214-E 

With    wax    bust,    "Non-Depress"    metal    top,   flesh 

colored  legs $12.00 

Same  form  with    flesh    colored   papier   mache  bust, 
"Non-Depress"  metal  top,  flesh  colored 

legs if  10.00 

Form  without  bust  or  top,  flesh  colored  legs  $8.00 
Same  form  without  bust  or  top,  entire  body  Jersey 
covered $7.00 


HiptessMer- 
maid  Drape 
Form  486-E 


New  Style  Hipless  Mermaid  Drape  Form   No.  486-E 


Willi  Wax  liust  and  ornamiMital  motal  toj) 

Willi  Papier  Mache  Bust,  ornamental  metal  toi>    !$'.>.()»  Sami'foini  wiih 

Same  form  witliout  bust,  papier  mache  hnish    $.".«>(). 


Panier 
Drape 
Form 


1582 14-E 

Showing  one 
of  the  hun- 
dreds of  new 
drapes  made 
on  this  form. 


.  ...     $11.00 
top         7.(>0 


Colonial 
Drape 
Form 
483-E 

The  m  o  s  t 
popular  drap- 
ing form  on 
the    market. 


Colonial  Drape  Form  No.  483-E 

Plain    and  Draped 

With  Wax    Bust,   "Non-Doprcss"    metal    top,    fli^sh 

color  legs 912.00 

Same  form  witii  llesli  color  papier  mache  bust,  "Xon- 

r)epress"  metal  top JHIO.OO 

AV'thoutbust  orlop,  llesh  colorless ijis.oo 

AN'ilhout    bust  or  top,   entiie  body,    Jersey  covered 

!(!7.00 

SEE  DRAPES  0.  1.  2,  3.  4.  6.  7.  8,  11.  12.  16.  17  ON  PAGES  202.  203,  204.  205.  207,  208 
Write  for  Catalog  of  Wax  Figures  and  Entire  Line  of  Display  Forms. 

554  West  Jackson  Boulevard 

Mfgrt.  of  Adjuitable  and  Non-Adjustable  Dress  Forms 


Panier  Drape  Form  No.  15822-E 

Plain  and  Draped 

ilif?li  waist  Line,   with   flesh   color  legs, 

Same  form,  entire  body  J  eisey  covered, 

*«.r.o 

See  pages  208-213  for  fall  draping  particulars. 


Model  Form  Co. 


CHICAGO 


450 


Card  Writers' 
Supplies 

PRICES  RIGHT 

QUALITY  THE  BEST 


Best    Quality,   Red    Sable    (Rigger's)   Round. 
BRUSHES 

Nos. — 

123456789      10     11     12 

7c    8c     9c    10c  13c  16c  20c  23c  25c  2Sc  33c  40c 

Best  Quality  Red  Sable   (Bright's)    Flat. 

Nos. — 

1       2       3       4       5       6       7       8       9101112 

9c  10c  12c  15c  ISc  23c  27c  32c  38c  45c  55c  65c 

Russia    Sable    Grounding    Brush. 

Sizes      .1 3^       V.      %       34       7^      1  inch 

15c  16c   18c   21c   23c        25c 
Card  Writers'  Genuine  Red  Sable  One  Stroke 
(Flat). 

In    3   sizes    14      %      1/0  inch 

35c   45c  65c 

Flat   Camel's   Hair,   One   Stroke   Lettering. 


Sizes 


Sizes 
Each 


6c  7c  9c  lie  13c  15c  18c 
DAILY'S  PERFECT  STROKE. 
Imitorled   Red   Sable    (Round). 

Style   No.    51. 

5  7  9  11 

ISc      25c      35c      45( 

Style  No.  4  9. 
..3  4  5  6  8         10 


1  inch 
3c 


)UC 


Sizes   ...      3  4  5  6  8         10         1'. 

Each   ...    25c      35c      45c      60c      SOc   $1.25    $165 

BISSELL'S  &  CARTER'S  SHOAV  CARD 

COLORS. 

For  Auto  Pens  or  Brusla 

Postpaid  Prepaid 

2-03.    bottles,    ea $0.30     Per  dozen.. $   1.50 

'/2-Pint  bottles,  ea..  .50  Per  dozen..  4  50 
1-pint  bottles,  ea .  .  .  1.00  Per  dozen..  8.00 
l-(liiart  bottles,  ea.  .  1.25  Per  dozen..  15.00 
For  1/2 -doz.  lots  take  %  the  dozen  price 
plus  10  per  cent. 

INKS. 
Gold  Ink,  for  the  common  pen. 

1-oz.  bottle  35c;   half-oz.  bottle  25c. 
"White  Ink,  for  the  common,  Soennecken  and 

Auto  Marking  pens,    1-oz.  bottle,  20c. 
Black  and  Colored  Inks  for  air  brushes. 

2-oz.    bottle    25c,    6-oz.    bottle    SOc.    16-oz. 

bottle  S5c. 
Colors,  powder  form,  all  colors. 

Tube,  sufficient  to  make  over  one  quart  of 

strong-  color,  20c  per  tube,  $2.00  per  dozen 

assorted. 
Black  and  Colored  Waterproof  Drawing  Inks, 

all    makes,      %-oz.    bottles    SOc    each,    half 

dozen   $1.50. 


PENS 

Automatic  Shading  IVns,  20c  each.  $1.50 
dozen. 

Soennecken  Pens,  single  and  double-pointed. 
Single,    2Uc    per   doz.;    double    35c    per   doz. ; 
3-pointed,    5c   each,    50c   per   doz.     Ink   re- 
tainers, 3  for  10c. 

Music  I'ens,  (3  nibs>  for  large  script  writing. 
5c  each,  35c  per  dozen. 

Ball  pointed  Pens,  2  for  5c,  5  for  10c,  12  for 
20c. 

Payzant  Pens,  each  $1.00,  3  pens  $2.85,  6  pens 

Shepard  Pens,  $1.35  ea<?h,  4  sizes  $5  00. 

(See  Faust's  Book  of  75  Alphabets  for  de- 
scription and  work.) 
Shadow   Pens,  each  35c;  3  assorted,  $1.00. 

One  pen  and  1  bottle  of  ink  for  same,  SOc. 
Paper    and    Card-Hoard    Cutters,    brass    35c, 
nickel-piated  40c. 

Lecturers'  Crayon,  all  colors,  for  tinting 
hack  grounds,  1  Oc  each,  $1.00  per  do3. 

Art  Gum,  for  erasing  pencil  and  finger  marks, 
size  2i4Xlii,xli8,  lOc;  large,  3x2x1,  15c. 

Pantographs — A  fine  one,  hardwood,  nickel- 
plated  trimmings,  ball-bearing  rest,  ad- 
justable pencil  holder,  in  box,  $1.50. 

Air  Brushes  and  Sprayer.s,  leading  makes, 
$8.00  to  $30.00. 

Metallics.  Flitter,  Tinsels,  Bronzes,  Diamond 
Dust,  Flocks,  luc  per  package,  $1.00  per 
dozen. 

SHADOAV  PENS. 

These  pens  automatically  make  the  bodv  of 
tlie  letter  and  shades  it  with  a  light  tint 
with  one  stroke  of  tlie  pen.  producing  a 
beautiful  effect.  For  sample  of  its  work, 
prices,  etc.,  send  for  circular  giving  full 
description. 

STENCILS. 

Of  letters  and  pattern  designs,  cut  and  ready 
to  cut,  from  10c  to  $1.00.  Send  for  price 
list. 

SPRAA"  OITFITS. 

For  making  showcards  and  designs,  con- 
sisting of  six  assorted  colors  of  ink,  one- 
half  pint  each,  1  sjirayer  (metal  tube). 
doulile  bulb,  continuous  fine  sprav.  and  20 
sprayed  patterns  with  instructions,  $3.50 
postpaid. 

Fountain   Attachments   for   .Vutomntle  Pens. 

The   Faust 9i2.:iO 

World    4.00 

The  above  articles  are  sent  prepaid,  except 

tliose    otherwise    indicated.     Ca.'-h    must    ac- 
company the  order;  stamps  accepted  for  any 

SiV  REFERENCES— North  M  est  State  Bank 
or  Any  Art  and  Sho^vcard  Supply  House  in 
Chicago. 


W"e  have  a  complete  line  of  every  make  in  Card  AVritcrs'  Supplies  and   Hooks.      If  you  don't 
see  what  you  want  here — write  nie. 

C.  A.  FAUST,  1024  N.  Robey  St.,  Chicago,  III. 

451 


Why  Buy  ^^Near  Style^^  Drape  Forms 

When   You   Can    Get  Those  of  Great 
Western   Make  at  a  Minimum  Price? 


THE  BRITMKLEY 

DRAPE  SHELL 

A  drapery  form  mod- 
eled to  conform  to  the 
lines  established  by  Miss 
Nell  Brinkley  In  her  fa- 
mous pen  pictures  of 
American  girls.  May  be 
shown  front,  side  or  back 
view. 


Originators  of  the 

Hipless  Drape  Shell, 
Mummy  Drape, 
Twentieth  Century 
Drape  Form, 

Brinkley  Drape  Shell, 
Mermaid  and  Many 
Others. 


THE  MANDEL  FORM 

Designed  and  used  with  great  success  by  Mr. 
Harry  Jones,  head  window  trimmer  for  Man- 
del  Bros.,  Chicago.  The  lines  will  appeal  to 
all  who  desire  a  form  that  is  away  from  the 
ordinary.     Each  shell  has  a  shaped  shoulder. 

No.  1655 

See  Drapes  32A,  32B,  5,  6,  7,  8.  16.  4.  5.  7,  8. 

on  Pages  90,  143,  144,  149,  189  and  239. 

We  can  furnish  you  with  any  other  style 

form  shown  in  this  book. 

Write  for  our  new  catalog  of 
METAL  DISPLAY  FIXTURES 
WOOD  DISPLAY  FIXTURES 
PAPIER  MACHE  FORMS 
WAX    FIGURES,    ETC.,    ETC. 


No.  Jt'>:>o 


131   S.  Fifth    Avenue 


GREAT  WESTERN 
FIXTURE  WORKS  CHICAGO 


452 


Show  Window  Valances 

WILL  BEAUTIFY  YOUR  WINDOWS 

The  perplexing  problem  of  concealing  modern  show  window  reflectors  is  solved 
by  the  use  of  valances.  In  addition  to  this  practical  use,  they  also  add  a  final  touch 
of  refinement  and  exclusiveness  to  the  store,  greatly  increasing  the  attractiveness  of 
the  merchandise  displayed. 

OUR  STOCK 
VALANCES 

Our  Stock  Valances 
are  imported  in  bolt 
lengths  of  continuous 
pattern  and  can  be  cut 
to  any  desired  length. 
All  special  valances 
are  made  to  order  and 
require  about  two 
weeks'  time  to  ship. 

WHY  YOU  SHOULD  USE 

WEINBERG  VALANCES 


Because  our  valances  add  as  much   attractiveness   to  a  store   front  as   the  window 

trim  itself. 
Because  AV^einberg's  Valances  are  made  in  exclusive  patterns  of  specially  Imported 

materials. 
Becau.se  Weinberg's  Valances  may    be    cleaned    when    soiled,    they    are    water    and 

sun-proof — they  will  not  fade. 
Because  Weinberg's  Valances  hook  on  and  off  in  a  second. 
Because  Weinberg's  Valances  are    made    by   the   oldest   and    best   equipped    valance 

house  in  the  country. 
Because  Weinberg's  Valances  mean    strictly    first-class    workmanship    and    prompt 

service.     "Prompt  service  Is  Weinberg  service." 

Let  Us  Help  You  Make  Your  Store  Front  More  Attractive 

We  carry  in  stock  the  largest  and  best  line  of  ready-made  valances.  Our  special 
service  department  enables  you  to  submit  your  own  design,  and  we  will  work  it  out 
according  to  our  best  ideas — based  on  our  experience  in  designing  valances  for  the 
largest  stores  in  Chicago.  ^»t"  ■•^  .•.-.••  ((»_j .,  ,_  -,  -  p-»^  ^i-'eVi-  c-i** 

HOW  TO  ORDER 

To  fill  orders  or  quote  prices,  we  must  have  the  following  information:  Number 
of  pieces  desired  and  exact  length  and  width  of  each;  the  distance  from  floor  to 
transom  bar  or  point  from  which  valances  are  to  be  hung.  Send  floor  plan  of  your 
windows  and  entrance  with  dimensions,  showing  columns  or  other  obstructions  be- 
tween panes  of  glass. 

Write  Today  for  full  particulars,  Illustrated  Booklet  and  Prices 


1459-1461 

Milwaukee  Ave. 


JULIUS  WEINBERG 


CHICAGO, 
ILL. 


453 


Koester  IM  School 


Window  Trimming  ^^^^^  Card  Writing 

Advertising 

Study  Window  Trimming  Under  Men  You  know 

Persons  intending  to  become  artists,  study  under  some  famous  painter— and  if  you 
would  become  a  window  trimmer  or  card  writer,  YOU  should  study  under  men  who  have 
made  a  success   in  this   work. 

The  Koester  School 

has  as  instructors  just  such  men — men  whom  most  of  you  already  know  personally  or 
through  reputation— men  who  have  originated  a  great  deal  of  the  most  successful  methods 
used  in  this  work  in  recent  years— such  men,  and  only  this  kind,  can  give  you  instruction 
that  will  give  you  the  greatest  success   in  your  work. 

AlKofi-  \  'K'r>P»Qff»r  Founder  of  the  School,  is  considered  by  many  the 
/i-lDen  XV.  IV<Je&ld  greatest  window  trimmer  in  the  world.  It  is  certain 
that  he  is  one  of  the  greatest.  The  methods  that  he  uses  are  taught  only  at  this  school 
and  are  now  used  by  the  most  successful  trimmers  in  this  country  and  demanded  by  most 
stores. 

>^  T       C^  rwnran      President,    has    probably    made   a    deeper    study   of   Window 

VjCO»  J»  v><LlWd.H  Trimming  than  any  other  man.  He  has  written  more  on  the 
subject  and  published  more  drawings  and  original  ideas  than  any  one  individual  in  the  world. 

HT  "R  11 -fh  P>rf  rkfH  ^fanager  and  Advertising  instructor,  was  at  one  time 
•  J»  JVU.  lllCl  IvJl  tl  president  of  the  Window  Trimmers'  Association.  His 
entire  experience  has  been  in  the  disposing  of  merchandise  by  means  of  the  window  and 
other  forms  of  advertising.  His  success  was  such  that  he  was  entrusted  with  the  advertising 
of  the  John  V.  Farwell  Co.,  of  Chicago,  one  of  the  largest  firms  in  the  world.  His  ex- 
perience has  fitted  him  for  an  ideal  instructor  for  boys  who  want  to  know  how  to  do  the 
advertising  in  a  retail  store. 

•^ntT-*  1 1  XT  "RofpkO  Draping  Expert,  originator  of  the  new  idea  of  showing  drapes 
VV  m  n..  Dd.iea  ^^  fabrics  on  live  models — originator  of  drapes  on  the  new 
"mermaid"  form,  both  of  which  created  so  much  interest  at  the  recent  Window  Trimmers' 
Convention.  To  be  a  successful  trimmer,  you  must  be  able  to  drape  fabrics  according  to 
the  new  style  tendencies,  and  the  only  place  you  can  get  instruction  on  this  at  The 
Koester    School. 

TrArincr  T  RrilHforH  Store  Equipment  Expert,  gives  a  demonstration  on 
irVlllg  L^t  i->  L  dKlLKJl.  VI  j-jQ^  |.Q  niend  and  clean  wax  figures — explains  how 
lo  buy  fixtures — how  to  make  them,  and  will  assist  any  student  on  special  information  he 
may  want  on  the  planning  of  new  windows,  construction  of  store  fronts,  etc.  We  believe 
that  this  information  cannot  be  found  outside  of  The  Koester  School. 

J1>  TJn  f  c  on  Instructor  in  Card  Writing,  has  had  two  years'  card  writing  ex- 
•  -I*-*  ■'^  ^  I  O  U  11  perience  with  the  United  Cigar  Stores  and  five  years'  experience 
with  Marshall  Field  6c  Co.,  Chicago.  He  was  witli  the  Gunning  System  of  painted  outdoor 
signs    for    four  years,     hounded   and  conducted   a   card   writing  school    for   three   years. 

A  set  of  literature  explaining  all  courses  and  h<nv  to  increase  your  salary  is  yours  for 
the  asking.     Write   fnr   it   today. 

THE  KOESTER  SCHOOL  ^"^^"'^'Siil^cT'" " 


464 


This 
KOESTER 

MAN 

accepts  this 
position  as 
soon  as  he 
graduates. 


The  examples  of  drape,  show 
card  and  show  windows  show 
what  Mr.  Freebern  was  able 
to  do  after  completing  his 
studies    at    the     Koester 
School. 

We  believe  there  are 
few  young  men  who 
are  able  to  show  bet- 
ter work  in  all  these 
lines. 

Let  us  help  you  to 
do  this  kind  of  work. 


Original    drape    by   Walter    Freebern 


Paul  Davis  Dry  Goods  Co.,   Waterloo,  la. 

Mr.    Freebern  says: 
To   whom   it   may  concern: 

It  gives  me  pleasure  to  recommend  the 
Koester  School  to  anyone  desiring  to  attain 
the  latest  and  most  improved  methods  of 
window  dressing,  advertising  and  show  card 
writing. 

Their  advanced  Ideas  are  of  Inestimable 
value  to  the  man  of  ex- 
perience and  their 
thorough  and  detailed 
Instruction  puts  the  be- 
ginner in  touch  with 
the  very  best  methods 
to  make  his  work  suc- 
cessful. 

I  consider  that  the 
few  weeks  I  spent  In 
their  school  last  winter 
has  already  been  worth 
many  times  what  the 
course  cost  me,  and  I 
expect  to  keep  In  touch 
with  them  from  time  to 
time.  In  order  to  keep 
my  work  and  methods 
up-to-the-minute. 

If  you  contemplate 
entering  this  line  of 
work,  my  advice  Is  to 
"let  the  Koester  people 
show  you  how." 
Verv  tnilv. 
W.    X,    FREEBERN. 


.s^how  i-nrii  and  show 
window  by  Walter  Free- 
bern for  Paul  Davis  D. 
G.  Co. 


455 


Window  Trimming 
Monthly 

Published  as  a  section  of  the  Dry  Good»  Reporter  under 

the  name  of  Dtore  Equipment  and  Window 

Display  Monthly 


is  considered  by  many  authorities  on  wi».dow  trimming 
to  be  the  most  interesting,  most  helpful  and  most  beauti- 
ful example  of  paper  published  in  the  interests  of  the 
window  trimmer,  card  writer  and  the  man  interested  in 
the  store's  equipment. 


A  Real  Monthly  Window  Trimming  Service  at  $1.00  a  Year 


Geo.  J.  Cowan,  ELdilor. 

E.  O.  Burdg,  Associate  Editor. 

H.    J.    Rutherford,    Writer     on 

Window  Trimming. 
W.  H.  Bates,  Writer  on  Draping. 
C.  A.   Faust,    Writer    on     Card 

Writing. 
Robert  B.  Schreffler,  Writer  on 

Store  Accounting. 


There  will  also  be  monthly  draw- 
ings and  text  matter  by  J.  C.  Bodine, 
Art  Calitins.  Geo.  J.  Cowan,  E.  O. 
Burdg  and  others  of  the  foiemosl 
trimmers  in  this  country. 

This  publication  prints  each  month 
many  of  the  new  things  that  are 
being  brought  out  by  the  Koester 
School. 

Window  Trimming  Depart- 
ment contains  photographs,  draw- 
ings and  descriptions  of  every  phase 
and  new  development  of  window 
work.  The  drawings  and  photo- 
graphs of  original  drapes,  unit  trims 
and  groupings,  also  the  background 
suggestions,  are  far  superior  to  any 
expensive  correspondence  course  m 
window  trimming  that  will  cost  any- 
where from  forty  to  eighty  dollars. 

Card  Writing  Department 
contains  new  alphabets  and  examples 
of  cards  by  boys  from  all  over  the 
world. 

Store  Equipment  Depart- 
ment contains  complete  and  au- 
thentic information  on  all  types  of 
store  fixtures,  store  arrangement,  win- 
dow construction,  lighting  and  venti- 
lation. 

This  is  the  biggest  dollar's  worth  of 
literature  on  these  subjects  that  you 
can  get. 

All  back  numbers  have  been  sold, 
so  in  sending  in  your  dollar  for  a 
subscription,  it  will  have  to  start  with 
the  current  number. 


Every  issue  contains  photographs  of  show  windows 
from  all  over  the  world.  Special  large  views  arc 
shown  of  all  the  State  Sitcel  windows  as  soon  ai 
they  are  installed  This  keeps  the  reader  posted 
on  all  new  ideas  used  by  other  trimmers. 


Every  issue  contains  drawings  similar  to  the  above 
that  in  reality  make  a  monthly  window  trimming 
service,  showing  just  how  to  trim  your  windows. 
Some  of  these  drawings  cost  as  high  as  $23.00  each, 
and  you  get  sometimes  as  high  as  ten  in  one  issur 
at  the  cost  of  a  trifle  over  eight  cents. 


456 


S300£2  FOR  S3jS2 


If  we  were  to  say  that  YO'U  could  Kct  $300  worth  of  informa- 
tion out  of  the  DRY  GOODS  RI:P()RT1-:R  during,'  a  year's  study 
of  its  pages,  you  may  think  the  statement   extravagant. 

And  it  inight  be  extravagant. 

Yet  there  are  many  instances  where  a  reader  of  the  RR- 
PORTER  has  gotten  information  from  its  pages  whcrehy  he  has 
added  profits  to  his  business  that  amounted  to  more  tlian  $3(X).0U. 

Under  the  same  circumstances  YOU  could  do  this  too. 

The  REPORTER  is  pubhshed  weekly. 

It  is  not  a  "literary  gem"  but  instead  is  a  journal  of  private 
information  for  the  man  who  sells  dry  goods. 

Digesting  this  information  will  make  you  a  liettcr  merchant 
and  will  make  your  salespeople  better  salesmen  and  saleswomen. 

There  is  no  way  on  earth  where  you  can  invest  $3.00  to  a 
better  advantage  to  your  business.  Some  of  the  features  of  the 
REPORTER  which  will  appeal  to  every  progressive  merchant 
are: 


GENER.Mv  EDITORI.VT.  PAGES— Just  as  helpful 
and  readable  as  experienced  merchants  and  ex- 
pert scribes  can   make   the:n. 

SELLING  PLANS — The  experience  of  practical 
merchants  in  real  business-building  and  profit- 
making  methods  as  gathered  by  our  correspond- 
ents and  representatives  in  all  parts  of  the 
country. 

FASHION  NE^VS— Forecasts  of  the  future  and 
record  of  the  present  tendencies  in  styles  in  all 
things   pertaining   to    women's   wear. 

FASHION  ILLUSTRATIONS— Graphic  showing  in 
black  and  colors  of  seasonable  merchandise,  giv- 
ing to  the  merchant,  at  a  glance,  valuable  buy- 
ing  suggestions. 

BOSS  CONTESTS  giving  every-day  problems 
rwhich  confront  the  retail  merchant  every 
week  in  the  year.  These  problems  are  solved  by 
merchants  and  salespeople  throughout  the  United 
States,  and  their  articles  on  the  various  phases 
of  retailing  are  published  in  the  REPORTER 
EVERY  WEEK.  "WHAT  DID  THE  BOSS  SAY" 
is  worth  ten  times  this  publication's  subscription 
price   to   any   live   Dry    Goods   retailer. 

STORE  EQnr:\rENT  ant)  aa^ndow  display 

SECTION — ^l.sHind  monthly  as  a  supplement  ti> 
the  REPORTER.  Filled  with  interesting  articles, 
profusely  illustrated,  by  expert  window  trimmers 
and  card  writers.  The  most  complete,  competent 
and  helpful  to  the  merchant  of  any  thing  of  this 
kind   published   in   the   United   States   today. 


GARMENT  SECTION— Another  monthly  supple- 
ment containing  special  articles  and  illustrations 
pertaining  to  Ready-to-Wear  Garments. 
SHOE  SECTION — A  monthly  supplement,  the 
reading  of  which  has  converted  losing  shoe  ae- 
partments    into    profitable    ones. 

VARIETY  GOODS  SECTION— A  miniature  paper, 
half  the  size  of  the  REPORTER,  bound  under  its 
own  cover,  dealing  with  small  wares,  bargain 
basement,  5  and  10c  goods,  novelties  and  all 
those  little  things  that  sell  quickly  at  a  good 
profit. 

TRASIP  STORIES— A  series  of  humorous  but 
helpful  tales,  some  true  and  otherwise,  dealing 
with  ticklish  problems  in  store  life. 
STORE  PLANS — Articles  describing  new  Ideas  In 
store  planning  and  illustrations  showing-  best 
store    arrangements. 

STORE  ACCOUNTING — Practical  suggestions  In 
store  system,  lessons  in  store  book-keeping  and 
examples  of  merchants'  financial  statements. 
PRICES  CURRENT— A  carefully  revised  list  of 
prices  ruling  in  the  Chicago  market. 
SPECIAL  NUMBERS — During  the  year,  four 
special  Fashion  Numbers  and  many  special- 
feature     niinihers. 

ONE  SI  I5SCKIPTION  COVERS  ALI.,— And  if  you 
have  a  mind  to,  you  can  have  I  TSSTHCS  of  the 
REl'oHTElt  sent  to  you  FREE.  The  order  blank 
below  will  allow  you  to  get  in  and  "Stick"  or 
get  out  without  cost.  Sign  this  order  and  send 
it  to  us  today.  You  can  countermand  it  when 
you    please. 


Date. 


DRY  GOODS  REPORTER  CO.,  215  South  Market  Street,  Chicago. 

Gentlemen:— Please  send  the  DRY  GOODS  REPORTER  for  one  year  and  render  a  bill 
at  the  subscription  price  of  $3.00.  It  is  understood  that  this  order  will  be  cancelled  if  the  under- 
signed is  not  pleased  -with  the  Reporter  in  every  way. 


Signed. 


Town. 


State. 


457 


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Retail 

Advertising 

Service 


CLARENCE  SOUSLEY 

Advertising  Expert  in  Charge  of 

Adv.  Service  Bureau 


We  have  a  weekly 
Advertising  SER- 
VICE which  we  fur- 
nish to  over  five  hun- 
dred ad  writers  and 
merchants.  Issued 
weekly  on  typewritten 
forms,  exclusive  to 
one  store  in  a  town. 

This  consists  of  two 
general  heads  and 
from  twelve  to  twenty 
subheads  for  the  de- 
partments throughout  the  store.  It  will  be  sent  to  you  every 
week  and  mailed  on  Friday  night  from  our  Chicago  office. 
The  writer  has  a  store  plan  which  consists  of  forty-four 
departments,  and  these  departments  are  treated  alternately 
each  week. 

The  mission  of  this  Service  is  to  save  you  time  and  brain  fag  and  yet 
enable  you  to  get  up  an  attractive  advertisement  for  your  store  very 
quickly.  The  average  ad  man,  who  also  has  other  duties,  usually  by 
inclination  or  force  of  circumstances,  gives  these  other  duties  the  pref- 
erence and  puts  off  his  advertising  copy  for  the  newspaper  until  the 
last  minute.  Then  he  sits  down  and  "dashes  it  off."  You  can't  write 
a  good  ad  in  this  manner.  Your  advertising  copy  must  have  previous 
thought.  Our  weekly  Ad  Service  furnishes  you  with  this  previous 
thought. 

The  price  of  the  Service  is  $10.00  for  one  year,  in  advance.  We 
do  not  take  patrons  for  less  time,  and  they  are  guaranteed  exclusive 
use  of  copy. 

With  this  typewritten  Service,  you  draw  a  plan  of  the  ad  as  you 
want  it  to  appear  in  the  newspapers.  Then  number  the  spaces  and 
number  separate  sheets  accordingly.  From  the  typewritten  Ad  Ser- 
vice, clip  the  headings  that  you  like,  paste  them  on  the  sheets,  write 
items  and  prices  below  and  hand  to  the  printer.  With  this  Service,  it 
is  possible  to  get  up  your  weekly  advertising  in  a  few  minutes'  time. 
WRITE  FOR  SAMPLES. 

Reporter  Service  Bureau 

7th  Floor,  218  South  Market  Street  CHICAGO 


^^-c-p- 


i^^. 


458 


STORE  ACCOUNTING  BOOKS 

A  Few  of  the  Books  That  We  Can  Recommend  as  Being 
Most  Helpful  in  the  Accounting  Work  of  the  Store. 


The  Philosophy  of  Accounts 

By  Charles  E.  Sptague 
teacher  of  finance  and  accounts  of 
New  York  University  and  president 
Union  Dime  Savings  Bank,  New 
York.  For  the  business  man  and 
the  accountant,  there  is  no  other 
work  published  which  states  so 
clearly,  so  simply  and  in  such  prac- 
tical form  the  principles  underlying 
accounts  and  accounting.  It  deals 
with  theory,  but  practical  illustrations 
abound  to  clearly  show  how  theory 
"intermeshes"  with  practice  when 
the  practice  is  correct.  This  is  a  book 
of  161  pages,  bound  in  dark  blue 
cloth.     Sent  postpaid  for. . .  .$2.00 


Department  Store  Accounts 

By  Chas.  A.  Sweeltand 
This  is  a  handbook  of  retail  accounting 
methods,  including  the  best  simple  account 
systems  for  the  small  retailer,  book-keeping 
for  general  stores,  and  methods  of  management 
of  the  largest  department  store?.  Retailing 
involves  a  multitude  of  transactions,  small  in 
themselves,  but  in  many  cases  aggregating 
totals  that  compare  favorably  with  the  business 
done  by  the  manufacturer  or  jobber.  Because 
of  the  number  of  his  transactions,  the  retailer 
is  forced  to  provide  for  the  handling  of  a  vast 
array  of  details.  208  pages,  125  illustrations, 
bound  in  red  vellum  clolh.  Sent  postpaid 
for $1.50 


Loose-Leaf  Book-keeping 

By  SweellanJ 

This  book  is  invaluable  to  the 
merchant  using  a  loose-leaf  system 
or  who  intends  using  it.  The  lime 
to  get  a  full  statement  of  last  month's 
business  is  on  the  first  Jay  of  this 
month— not  the  1  5th.  If  you  have 
to  wait  every  month  for  your  monthly 
statement  —if  your  book-keeper  must 
work  overtime  to  get  it  out,  it's  time 
you  got  rid  of  your  poor,  inadequate 
accounting  system.  This  book  con- 
tains short  cuts,  schemes  and  accuracy 
insuring  book-keeping  plans  that  will 
enable  you  to  gel  your  statement  or 
trial  balance  sheet  the  first  of  the 
month.  Bound  in  red  vellum,  over 
200  pages.     Price,  postpaid. $2.00 


Goodwin's    Improved   Book-keeping    and 
Business   Manual 

This,  we  believe,  will  be  the  most  interesting  and  helpful 
of  all  the  books  we  know  of  on  store  accounting.  It  has 
chapters  dealing  with  the  systems  used  by  the  best  stores  in  the 
country — each  house  contributing,  through  its  paiticular  system, 
something  towards  the  whole.  Here  is  a  list  of  some  of  the 
houses:  Arnold,  Constable  &  Co.;  Calhoun,  Robbins  &  Co.; 
H.  B.  Claflin  &  Co.;  A.  F.  Stewart  &  Co.;  Lord  &  Taylor; 
R.  H.  Macy  &  Co.;  James  McCreery  &  Co.,  Mills  &  Gibb, 
Stern  Bros.;  Teft,  Weller  &  Co.,  etc.  Care  has  been  taken  to 
make  this  book  as  clear,  complete  and  brief  as  possible.  An 
article  is  of  no  value  unless  it  is  understood,  therefore,  in  getting 
out  this  book,  the  main  idea  has  been  to  get  it  up  in  such  a 
way  that  its  subject  would  be  clearly  understood.  This  book 
is  of  generous  size,  being  7x10  inches,  and  over  300  pages. 
Sent  postpaid  for $3.00 


Send  All   Orders  to   The  Dry  Goods  Reporter,  Chicago 


MORE   STORE    BOOKS 


Pete  Crowther:  Salesman 

By  Elmer  E.  Ferris 

People  say  that  salesmen  are  born  not  made, 
ihat  some  men  can  sell  anything,  others  noth- 
ing, but  when  Pete  Crowther  tells  how  he 
does  it,  you  will  find  a  lot  of  good  suggestions 
and  common  sense  for  you  to  follow. 

The  book  contains  a  practical  programme 
of  success  in  any  sphere  of  work.  It  not  only 
makes  salesmanship  look  good,  but  it  makes 
life  look  food.  It  will  cause  you  to  laugh  and 
think  at  the  same  time. 

This  book  is  attractively  bound  in  full  cloth 
and  illustrated.  Sent  postpaid  on  receipt 
of  $1.25. 


:^^L 


Droad  hurst. 

T^asterMerchant 


^^ 


Edward  Moll  Wool  ley 


Addison  Broadhurst: 

Master  Merchant 
By  Edward  Molt  Woolky 

The  remarkable  story  of  the  rise  of  a 
country  store  cleik  to  the  head  of  a  great 
department  store.  It  reads  like  fiction, 
yet  it  is  true  in  every  detail. 

The  record  of  his  success  and  how  it 
was  attained  he  now  hands  down.  '"I 
want,"  he  says,  "no  greater  monument 
than  to  leave  this  record  for  the  guidance 
of  men  who  are  blundering  through  busi- 
ness careers." 

This  book  is  attractively  bound  in  full 
cloth,  and  will  be  sent  posipaid  on  re- 
ceipt cf  $1.25. 


Practical  Publicity 

It  is  a  practical  treatise  on  the  art  of  business- 
building  through  all  the  varied  forms  of  pub- 
licity and  promotion,  written  by  a  man  who 
combines  the  training  of  a  journalist  with  the 
experience  of  a  publicity  director  who  creates 
and  originates  all  the  adverhsing  for  corpora- 
tions that  do  an  aggregate  business  of  six  mil- 
lion dollars  a  year.  It  is  intended  to  be  helpful 
to  every  man  who  has  anything  to  sell  and 
who  is  ambitious  to  enlarge  the  market  for  his 
product. 

A  250-page  book,  with  215  illustrations  of 
adverlisemenls.  bound  in  green  cloth,  sent 
postpaid,  for  $2.15. 


Modem  Accounting 

Du  Ihnru  RandHalfield.  Ph.D. 
Associate  Professor  of  Accounting, 
University  of  California 
The  cbject  of  this  work  is  to  emphasize  the 
two  main  purposes  of  accounting— that  is,  the 
presentation  of  the  status  of  a  business  concern 
and  the  determination    of  its  profits.     These 
two  purposes  are  accomplished  respectively  by 
the  balance  sheet  and  the  profit  and  loss  state- 
ment. 

This  book  is  bound  in  dark  red  cloth.  370 
pages.     The  price  is  $2.00,  postage  paid. 


CREDIT  Alports 

USES 


Accounting  Practice 

The  business  of  accounting  has  devel- 
oped so  rapidly  that  the  referi-nce  books, 
essential  to  the  business,  hav.;  not  kept 
pace;  consequently  the  books  available 
are  not  on  a  par  with  the  rt-feience  books 
of  other  professions,  and  it  is  with  this 
end  in  view  that  the  author  has  compiled 
this  work,  which  he  feels  will  meet  all 
pre  ent  needs. 

This  book  of  over  300  pages,  is  bound 
in  deep  maroon  cloth,  gold  lettered,  size 
6x91  inches,  and  sells  at  $6.25,  postage 
i>a>l. 


Credit  and  Its  Uses 

Bv  Wm.  A.  Prendergast 
Comptroller  of  City  of  New  York 

The  purpose  of  this  work  is  to  demonstrate 
tl  e  all-powerful  influence  of  credit  in  the 
r.  ^ministration  of  the  wodd's  affairs;  to  explain 
the  principles  involved  in  the  question,  and  to 
show  how  its  practical  application  to  mercan- 
tile life  depends  loo  comi)letely  on  a  correct 
knowledge  and  observance  of  those  principles. 

Bound  in  red  cloth,  gold  stamping.  Price, 
postage  paid,  $1.75. 


Send   All   Order*   to   The  Dry  Goods  Reporter,  Chicago 

4JJ 


Books  for  the  Advertising  Man 


liiii 


''ALW 


^m 


UOCESSFUL 
ADVERTISING 

TO  ACCOMPLISH 
Mac  DONALD 


Thi»  large  bo<,k  of 
over  400  paga. 
fully  illuslralrd. 
trcal«onpracli/-ally 
every  subject  per- 
laning  to  Reiai! 
Adverlbing.  In 
index  con taini  over 
500  didereni  .ub- 
jrcts,  among  lliem 
it-e  following:  Ad 
Building,  Adver- 
tising Ideas.  Wordf 
to  Use.  Use  of 
Price*.  Displaying 
Ilerrs  an  J  Prices, 
Preparing  Advei- 
liiing  Copy  for  iK 
Printer,  Use  ol 
Type,  Use  of  II- 
iuslralicr.s— adver- 
tising every  depart- 
ment of  the  store  (a 
chapter  devoled  to 
each  department) 
How  to  Get  A.' 
sistance  frcm  the 
Local  Papers.  Ad- 
vertising for  Each 
iV1cnlhoflhe\'ear 
(a  separate  article 
for  each  rrcnih), 
Seascn  Advertij. 
ing  (an  article  fo( 
eachseason  I, Gen- 
eral Adverlisinj 
(Bccidels.  Circu 
lars),  Newspapers 
Bill- boards.  Show 
Windows.  Deliv- 
ery, Classified.  Ed- 
ucational Features, 
Co-operation, 
Hcnesly  in  Adver- 
tising. Individual- 
ity, Schemes,  Pre- 
miums, Street  Car, 
Mail  Department). 
How  to  Write 
Advertising,  How 
Much  «o  Spend, 
Bookkeeping  and 
System.  Catalogue 
Making,  Adver- 
tising Your  Town, 
Special  Sale  Ad- 
vertising, with  ex- 
amples. Corre- 
spondence, Com- 
petition. Describ- 
ing Items,  Interior 
Display,  Card 
Writing,  Head- 
lines, Humor  in 
Advertising,  etc. 


Every  store  must  do  some  advertising.  Every  store  should  have  this  book,  as  it  will  answer  any  quertion  which  may 
come  up  relative  to  the  store's  advertising.  It  is  a  complete  reference  library,  fully  illustrated.  Most  books  devoted 
to  advertising  treat  on  the  subject  as  a  whole,  only  one  small  part  of  it  is  devoted  to  retail  store  advertising.  This 
entire  volume  is  devoted  exclusively  to  the  subject  of  Retail  Advertising.  Bound  in  full  cloth,  sent 
postage  prepaid  any  place  io  the  United  States  (money  must  accompany  all  orders) • $2.00 

Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

4G1 


Books  for  the  Advertising  Man 


1,000  Ways  and  Schemes  to  Attract  Trade 


If  you  should  try  a  new  scheme  every  day,  there  would 
book  enough  separate  suggestions  to  last  nearly  three  yea 
repeating  a  single  one.     It  is  9/4  x  7  inches  in  size  and  has 
with  1 20  illustrations  and  1 ,000  schemes  to  draw  trade. 
paid  for  $1.00. 


be  in  the 
IS  without 
208  pages 
Sent  post- 


Fifty  Lessons  in  Advertising 

Boiled  down,  concentrated  facts  of  a  kind  that  come  up  in  every 
day's  business.  Designed,  written  and  publL'hed  for  the  retailer  and 
for  the  advertising  man,  for  the  shoe  store  and  the  shoe  department 
of  the  general  or  department  store.  It  is  bound  in  green  cloth- 
covered  boards.     Sent  postpaid  for  $1.00. 


How  to  Do  Business  by  Letter 

To  the  dry  goods  merchant  who  sends  ou  I  circular 
letters,  borjklets  and  samples,  there  is  probably  no 
book  that  will  help  him  more  than  the  one  entitled 
"How  to  Do  Business  by  Letter."  This  book 
contains  123  model  letters  of  all  kinds,  all  of  them 
being  the  most  successful  pulling  letters  of  recent 
times.     Bound  in  full  cloth,  postpaid,  $1.00. 


Retail  Advertising 
Complete 

A  complete  treatise  on  retail 
advertising,  complete  instructions 
for  the  preparation  and  use  of  all 
kinds  of  advertising  matter;  fifty 
good  schemes  for  getting  busi- 
ness. Written  by  a  retail  mer- 
chant.    Price,  postpaid,  $1.00. 


Poster  Advertising 

This  book  contains  just  the  information  that  a  mer- 
chant needs,  if  he  is  to  do  bill -board  work.  Contains 
120  pages,  32  full-page  reproductions,  in  six  colors,  of 
commerc  al  posters  that  are  considered  among  the  best 
that  have  ever  been  used.  Bound  in  cloth,  with  a 
beautiful  original,  six-color  poster  cover,  size  8K  x  I  I 
inches.  The  stock  used  is  of  extra  quality,  in  order  to 
show  up  the  illustrations.     Sent  postpaid  for  $3.00. 


Sales  Plans 

A  collection  of  333  successful  ways  of  getting 

I        I.  ss.  including  a  great  variety  of  practical 

iliat  have  been  u>ed  bv  retail  merchants 

ertisc  and  sell  go<xls.  Sent  prepaid  to  any 

s.    Cloth  binding.  $2.50;  full  morocco 

binding,  $3.00. 


Successful  Advertising 
How  to  Accomplish  It 

Over  400  pages.  The  cream  of  the  know,lcdge  of 
men  who  know  how  and  when  to  advertise  — points  re- 
tailers should  know.  Simple  ads  for  cvcr>' department— 
the  sort  to  make  cash  sales  over  your  counter.  -  "Most 
returns  for  the  least  outlay"  is  the  keynote.  Bound  ■• 
cloth,  prepaid,  $2.00. 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

4G2 


The  Psychology  of 
Advertising 

By  Waller  Dill  Scolt 
Though  experience  is  the  teacher  most 
widely  depended  upon,  experience  is 
well  known  to  be  the  most  expensive 
teacher.  "The  Psychology  of  Adver- 
tising" assists  the  advertiser  in  making  the 
greatest  use  of  his  own  experience  as  well 
as  that  of  others.  Most  business  men 
have  sufficient  experience,  but  they  are 
unable  to  interpret  it  and  make  the  most  of 
it.  8vo,  half  leather,  profusely  illustrated. 
Price  by  mail,  $2.15. 


The  Theory  of  Advertising 

By  Waller  Dill  Scoll 
Director  of  the  Psychological  Laboratory  of 
Northwestern  University 
$500,000,000  are  spent  in  advertising  in  "the 
United  States  every  year.  This  vast  sum  is  t'evoted 
to  the  science  of  getting  results  by  the  use  ot  printed 
paper  and  type,  yet  this  art  is  underalood  by  com- 
paratively few  business  men.  No  more  useful, 
helpful  or  important  treatment  of  this  gigantic  sub- 
ject has  yet  appeared.  "The  Theory  of  Adver- 
tising" is  not  only  a  handbook  used  widely  by  ad- 
vertisers, but  it  has  been  adopted  as  a  text-book  in 
the  course  on  advertising  in  Swarthmore  College  as 
the  most  adequate,  trustworthy  and,  at  the  same 
time,  readable  work.  Bound  in  half  leather,  pro- 
fusely illustrated.     Price  postpaid,  $2.15. 


Increasing  Human 
Efficiency  in  Business 

By  Waller  Dill  Scott 

This  book  is  of  such  a  nature  that  the 
manager  of  any  business,  and  particularly 
of  a  retail  store,  will  derive  a  great  deal  of 
good  from  it.  One  chapter  alone  entitled 
"Personal  Relationship  with  Workers  as 
a  Basis  for  Creating  Loyally"  should  be 
read  by  every  me  chant.  350  pages, 
bound  in  vellum  c'e  luxe  cloth.  Price 
postpaid,  $1.25. 


Modern  Advertising 

By  Ernest  Elmo  Calkir^i  and 
Ralph  Holden 

A  book  which  tells  about  advertising — 
not  how  to  do  it,  but  how  it  is  done. 
There  is  a  little  theory  in  it,  but  consider- 
ably more  practice.  It  is  a  practical  book, 
tracing  step  by  step  all  of  the  different 
operations  which  make  up,  as  far  as  they 
can  be  described  in  print,  what  is  known 
as  "advertising."  366  pages  with  65 
illustrations,  bound  in  brown  cloth  with 
grJd  lettering.     Price,  postpaid,  $1.50. 


Scientific  Sales  Management 

By  Charles  W.  Hoyl 

Make  your  salesmen  closers,  not  missionaries — 
stop  searching  for  the  star  salesmen  trained  by  the 
other  fellow;  use  average  men  and  manage  them 
correctly— these  are  the  things  which  this  book 
advocates  and  teaches.  It  contains  204  pages,  size 
6x9  inches,  liberally  illustrated  throughout,  bound 
in  high-grade  black  cloth,  richly  stamped  with 
gold.     Price  postpaid,  $2.00. 


The  Shoe  and  Leather  Lexicon 

An  illustrated  glossary  of  trade  and  technical  terms  relating  to  shoes,  also  leather  and  other 
shoe  materials  and  allied  commodities,  with  especial  reference  to  the  production,  distribution  and 
retail  merchandising  of  the  finished  article.  It  includes  correct  anatomical  drawings  of  the  foot; 
tables  of  fool  and  last  measurements;  standard  carton  sizes:  systems  of  size  marking;  hosiery  sizes; 
varieties  of  low  cut  shoes;  classification  of  leathers;  standard  size  lengths;  statistics  of  shoe  pro- 
duction, etc.  Of  handy  size  for  pocket  or  desk,  gold  tinted  coated  paper,  wine  colored  antique 
cardboard  cover,  small  type  for  condensation  and  compactness.  Mailed  to  any  address  in  the 
United  Stales  at  40c  a  copy  ( 3  copies  for  $1 .00) 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

403 


The  Drygoogsffian":^ 

For'  the  Dry  Good*  and  Shoe  Tradft 


New   Handy 
Dictionary 


for  the 


Drygoodsman 

A  Book  of  Reference  CoDtaining  Defioitiont  and  Ex- 
planations of  Words,  Terms  and  Expressions  Used  in 
Dry  Goods  and  General  Store  Work. 


FOR  the  past  several  years  there  has 
been  no  book  published  that  would 
serve  as  a  dictionary  or  encyclopedia 
for  the  dry  goods  store. 

There  was  such  a  persistent  call  for 
such  a  book  that  a  handy  dictionary  for 
the  dry  goods  man  was  undertaken 
some  time  ago  and  is  now  of¥  the  press 
and   ready  for   distribution. 

In  the  preparation  of  this  work  two 
main  objects  have  been  kept  in  view — 
to  produce  a  simple  dictionary  with 
terse  definitions  of  the  words  and  terms  with  which  dry  goods  and  general  store 
workers  come  in  contact,  and  to  bring  it  forth  in  durable  form  at  a  moderate 
price. 

No  attempt  has  been  made  at  introducing  encyclopedic  features,  because  such 
cfifort  carried  to  a  proper  finish  would  make  a  book  too  great  in  size  and  too 
full  of  long  explanations  to  be  of  so  common  service  as  this  book  is  intended  to 
be.  The  cost  of  such  a  book  would  eliminate  from  the  list  of  purchasers  that 
vast  army  of  young  people  learning  the  business  who  have  the  greatest  need 
for  a  dictionary.  It  is  this  class  that  especially  needs  a  book  that  may  be  car- 
ried in  the  pockets  or  in  the  fixtures  at  a  handy  place  at  all  times. 

The  editor  remembers  his  desire,  as  a  green  clerk,  to  possess  a  dry  goods  dic- 
tionary, but  the  price  of  the  only  one  then  in  existence  was  higher  than  he  could 
afiford  to  pay.  That  experience  has  been  a  leading  incentive  in  the  preparation 
of  his  work — to  get  it  into  the  hands  of  every  clerk  in  every  store  at  a  time 
when  it  is  most  needed.  The  cost  is  not  prohibitive  to  any  who  have  the  desire 
for  information. 

It  is  suggested  to  the  clerk  that  he  keep  his  copy  always  at  hand,  and  if  a 
customer  asks  for  something  unusual,  he  should  consult  his  dictionary  before 
he  informs  the  customer  he  hasn't  the  goods  or  there  is  no  such  thing.  It  is 
suggested  to  the  merchant  that  he  keep  his  dictionary  as  ready  for  his  hand  as  he 
does  his  pen  or  his  receipt  book. 

This  dictionary  sells  for  one  dollar,  thus  making  it  easy  for  anyone  to  slip  a 
dollar  bill  in  an  envelope  and  ask  that  this  dictionary  be  sent  him. 

Send  All  Orders  to 

Dry  Goods  Reporter,  Chicago 


464 


HELPFUL    STORE    BOOKS 


STRAIGHT  TALKS 
BUSINESS 


-LIAM    GAMBLE 


Straight  Talks  on  Business 

A  practical  handbook  for  the  progressive  hu 
man.   By  ^^illiam  Gamble.    Small  ]2mo.    Cloth. 


Fifty-two  cjiapjers  on  such  subjects  as 
"Advertising,"  "Competition,"  "Prices," 
"Profits,"  "Economy,"  "Taking  Stock," 
etc.  Do  you  want  to  know  how  to  slop  busi- 
ness leaks?  How  to  advertise  successfully? 
How  to  make  the  work  of  each  man  pay? 
Here's  just  the  book  you  want — full  as  a  nut 
of  business  meat. 

"The  advice  has  grown  out  of  the  ex- 
periences of  a  man  who  has  followed  a 
strenuous  business  life.  He  claims  no  new 
business  philosophy,  but  puts  principles  which 
time  has  tested  into  new  form  better  suited  to 
the  present-day  needs."  —  Book  Rniew  Digest. 

A  book  to  be  read  by  every  young  man 
who  contemplates  entering  business  or  by  the 
business  man  who  "grows."  By  mail.  .$1.00 


■hook    for 
store    service    and   salespeople 
generally.      By    IVilliam    A. 
Corhion,  former   instructor   in    salesman- 
ship,    service   and   conduct   in    the    John 
M^anamaier  Store.     12mo.      Cloth. 

Mr.  Cotbion's  long  experience  as 
instructor  in  salesmanship  in  several 
large  department  stores  makes  him 
eminently  filled  to  prepare  such  a  work. 
He  deals  with  the  principles  under- 
lying good  salesmanship  and  depart- 
ment store  management  in  such  a  way 
as  to  make  them  clear  even  to  the 
unenlightened,  and  his  book  will  be  a 
helpful  manual  for  home  study  or  for 
use  in  the  department  store  classroom. 
By  mail $1.00 


English  Shop  Fronts  — 
Old  and  New 

The  great  number  of  illustrations  and 
large  amount  of  reading  mailer  cannot 
help  but  give  to  the  merchant  interested 
in  store  fronts  a  large  range  of  ideas  that 
will  be  very  helpful  to  him  in  deciding 
on  what  is  ihe  best  type  of  front  for  his 
use.  The  book  is  illuslraled  with 
photogravure  plales  and  bound  in  thick 
beveled  covers,  and  stamped  in  gold. 
This  book  sells  for $6.00 


If  you  desire 
more  detailed 
description  of 
any  of  these 
books,  we  will 
gladly  fur- 
nish it. 

All  books  are 
sent  postage 
paid,  and 
cash  must  ac- 
company all 
orders. 

How  to  Measure  Carpets 

Bv  John  H:  Lind 
Written  by  a  man  who  knows  by  practical  experience  how 
to  solve  the  problems  of  ihe  carpel  man .  Tells  you  all  about 
the  implements  of  the  carpet  measurer;  how  to  draw  plans; 
how  to  measure  halls,  stairs,  churches,  theatres  and  irregular 
carpets;  how  to  estimate;  how  to  cut  and  match  different  grades 
of  floor  coverings.  Indispensable  in  the  carpet  dept.  Contains 
iSOpages.     Bound  in  red  cloth.     Mailed  prepaid. .  .$1.00 


a 


n 


rSRLPH&BETS 


m 


m 


Faust's  75    Alphabets 


re  new  air-orusn  leiiers,  several  examples  oi  an  -uciilh 
:il  alphabets  and  alphabets  designed  especially  for 
openings.  Fourth  of  July,  ribbon  sales,  veilmg  sales. 


This  new  book  contains  alphabets  never  shown  in    any    manner 
before.     There  are  new  air-brush  letters,  several  examples  of  air-pencil 
relief  work, 
fire  sales,  autumn  ■ 
toy  sales,  etc.  ...  j    •     i   j-        l 

Every  known  card-writing  medium  is  represented,  including  the 
brush,  air-brush,  air-pencil,  relief  bulb,  stencil,  marking  pen,  shading 
pen,  new  shadow  pen,  new  Shepard  pen,  PayzanI  pen,  Soennecken 
pen,  steel  pen  and  common  pen.  All  the  alphabets  are  printed  on  the 
very  finest  of  half-tone  paper  and  bounj  in  an  album-shaped  book, 
size  8x10  inches.     The  price  is  only  75c  postage  paid. 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

465 


Books  for  the  Merchant's  Library 


The  following  books  should  be  In  every  merchant's  library.     By  referring  to  them  he  can  solve 
almost  any  store  problem.     Cash  must  accompany  every  order.     All  books  are  sent  prepaid. 


Science    of    Organization    and 
Business  Development 

By  Robert  J.  Frank  of  the  Chicago  Bar 

It  treats  of  the  Law  and  Procedure  of  Or- 
ganization— the  Financing  and  Development 
of  Your  Business.  It  tells  you  just  what  you 
ought  to  know  about  incorporating,  selling  or 
re-incorporating  an  established  business,  financ- 
ing a  new  enterprise  or  re-financing  an  old  one. 
In  short,  it  tells  you  how  to  organize  or  re-or- 
ganize a  business  on  practical  lines.  Don  t 
undertake  to  secure  financial  assistance  without 
reading  this  comprehensive  commentary.  Write 
today  and  gel  a  copy  for  your  desk  or  library. 
$2.75  in  morocco,  sent  prepaid. 


Shoe  Book  for  Retail  Dealers 

A  regular  reference  library  on  the  subject  of 
running  a  shoe  store.  250  pages,  fully  illustrated. 
Size,  9x6  inches.  Bound  in  cloth,  red  and  gold. 
Sent  postpaid  for  $1.00. 


Store  Management 
Complete 

The  man  who  knows  how  to 
manage  his  store  properly,  knows  how 
to  make  it  luccessful.  He  is  sure  to 
make  money.  This  book  covers  the 
subject  from  A  to  Z.  Bound  in 
red  silk  cloth.  252  pages  and  16 
full-page  illustrations.  Sent  postpaid 
for  $1.00. 


Success  in  Retailing 

The  Variety  Business 

This  book  is  as  helpful  and  practical  a  book 
as  a  merchant  can  have.  It  six^ializes  on  the 
handlmg  of  variety  goods,  small  wares,  etc. 
il  even  illustrates  how  to  make  home-made 
fixtures,  how  to  arrange  stocks  in  the  store, 
etc.  Gold  top  and  title.  225  pages.  Sent 
prepaid  for  $1.00. 


How  to  Do  Business 

or  the  Secret  of  Success  in  Retail  Merchan- 
dising, is  a  textbook  of  practical  hmts,  rules  and 
examples  on  how  toconduci  busine.«.  Il  con- 
tains twenty-seven  chapters  on  the  subject. 
Bound  in  red  cloth  and  has  over  200  pages  of 
text  matter.     Sent  postpaid  for  $2.00. 


The  Combination  Cost-Mark 

The  Reporter  has  a  cosl-mark,  a  differ- 
ent cost  -  mark  for  each  store,  that  no 
human  agency  can  decipher.  lis  combi- 
nations are  more  varied  than  the  combi- 
nation of  a  bank  safe,  yet  i/our  cost-mark 
to  you  will  be  very  simple.  Bound  in 
linen  cloth,  25c. 


Send  All  Orders  to  The  Dry  Goods  Reporter. 

4CG 


Ch 


icago 


Books  for  the  Merchant's  Library 


! 

R.  S.  B. 

MEASURING 

CHART 

1 

The  Accounting  System  of  a 
General  Store 


R.  S.  B.  Measuring  Chart 


measunng    piece 


ds   at   invoicing,     tha 


With  this,  one  clerk  can  do  the  work  of  five  in     This  booklet 


the  old  way  of  measuring.  I  copy,  $1.00; 
2  copies.  $1.75;  3  copies.  $2.00;  4  copies. 
$2.50;  5  copies.  $2.75;  6  copies,  $3.00. 
All  charge!  prepaid. 


Frederick  Hale,  who  devised  this  .;yslem  for  his 
own    store   after   much   study   and    research. 
Bound    booklet   in 
25c  each. 


Tales  by  the  Tramp 

A  book  full  of  sales  plans  written  in  story 

form,  being  a  collection  of  the  best  "Tramp 

Stories"  published  in  the  Reporter.    Illustrated 

profusely   by   our  cartoonist,  Clark  De  Ball. 

oth  binding,  price    Bound  in  red  cloth.   Sent  postpaid  (or  $1.00. 


and  simple  accounting  system 
1  a  greater  net  profit  to  you. 
written  for  the  Reporter  by 


History  and  Manufacture  of 
Floor  Coverings 

Devoted  to  the  history  of  floor  coverings, 
from  the  earliest  times  to  the  present  day. 
Complete  textbook  for  the  salesman  and  buyer 
in  the  carpet  department.  Ful  y  illustrated. 
Price,  postpaid,  $1.00. 


b~  f|'i£^-^--:^-^JS^^-*-L^j 

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lEmgSn^qii'y! 

Oriental  Rugs  and  Carpets 


Rugs  of  the  Orient 


This  new  rug  book,  dealing  with  Orientals, 
is  not  as  l)eauliful  as  some  books,  but  is  corre- 
sixindingly  cheaper  and  is  simply  loaded  with 
.    ,     ,    _  .         ,  ,        practical  information.     The  book  is  bound  in 

every  kmd  of  Oriental  rug  made,  ^^roon  boards  and  the  back  is  of  dark  green 
silk,  ll  is  9' :x  12!^  inches,  with  126  page*. 
The  price  is  $3.00. 


A    most   complete    work,  intended  for  the 
salesman  and  buyer  in  the  rug  department.     It 
treats 
Fully  illustrated.     Price,  postpaid,  $1.50. 


One  Hundred  Choice  Store  Plans 

This  is  a  book  largely  of  illustrations,  sHowinj  modern  store  fronts 
and  one  hundred  diagramed  floor  arrangements.  Every  plan  was  drawn 
for  some  certain  store.  They  are  practical  and  full  of  suggestions.  The 
book  is  invaluable  to  the  merchant  who  contemplates  building  or  remodeling. 
Cloth  bound,  sent  oreoaid.  S2..S0. 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

467 


Oi^'-W 


Collecting  by  Letter 
In  Two  Volumes 
It  has  taken  ten  years  to  write  these  books.  They  are  the 
scientific  result  of  thousands  of  dollars  in  tests  and  experimenting. 
It  is  the  last  word  on  successful  collecting  for  every  business  and 
professional  man.  250  tested  and  proved  collection  money 
pullers.  Bound  in  green  cloth  with  colored  cover  plate.  The 
two  volumes  shipped  postpaid  for  $3,00. 


Encyclopedia  of  Ornament 

For  the  window  trimmer  who  is  Interested  in  the  various  periods 
of  decorative  art  as  it  applies  to  his  work,  we  are  able  to  call  to  his 
attention  the  most  complete  book  on  the  subject  yet  published. 
When  you  know  that  it  has  2,731  illustrations,  you  can  gain  some 
idea  of  how  interesting  and  helpful  the  book  should  be.  The  book 
is  bound  in  rich  blue  cloth,  gold  stamped,  9":;xl2  inches  and  266 
pages.     Sells  at  $5.00. 


"Town  Development" 
or  "My  Town" 

By  Geo.  B.  Irving 

A  book  devoted  to  commercial  club 
work  and  giving  the  merchant  full  infor- 
mation on  "Advertising  the  Town," 
"Reason  for  Town  Decay,"  "The 
Model  Town, "_  "Catalog  Houses  versus 
Local  Dealers,"  etc.,  etc.  Mr.  Irving 
lectures  on  these  subjects  and  has  had  the 
inspiration  to  put  his  experience  into  manu- 
script form,  and  this  book  is  the  result.  1 36 
•ages  bound  in  cloth.     Postpaid,  $1.00. 


Analytical  Advertising 

An  authoritative,  dependable 
book — the  product  of  years  of 
study  and  actual  experience. 
That  there  may  be  no  doubt  as 
to  the  practical  application  of 
scientific  theories,  a  portion  of 
the  book  is  devoted  to  tables  of 
actual  advertising  results.  228 
pages,  bound  in  brown  vellum 
de  luxe,  with  gold  letters.  Sent 
postpaid,  $3.00. 


Show  Window 
Backgrounds 

A  book  illustrating  and 
explaining  how  to  make 
150  different  background 
decorations  for  your  show 
windows.  It  is  in  the  form 
of  a  calendar,  showing  doz- 
ens of  different  ideas  for 
every  month  in  the  year. 
256  pages,  printed  in  two 
colors,  bound  in  heavy  de 
luxe  cloth.  Sent  postpaid 
for  $1.50. 


A  Show  at 
Sho-Cards 

A  new  practical  guide  to 
show-card  writing.  Full 
instructions  for  mastering  this 
important  work.  This  Ls  the 
largest  card  -  writing  book 
published,  consisting  of  300 
pages  9x12  inches  in  size, 
with  120  designs  and  35 
alphabets.  The  cover  is  in 
green  buckram,  with  poster 
design  in  two  colors.  Sent 
postpaid,  $3.00. 


The  Koester  School  Window- 
trimming  Year  Book  FREE 

This  very  interesting  book  of  over  200  illustrations,  dealing  with 
window  trimming,  card  writing  and  advertising,  is  a  record  of  the 
best  work  done  by  Koester  School  graduates.  It  is  a  valuable 
book  for  anyone  interested  in  these  subjects,  as  it  shows  photographs 
of  78  prize-winning  window  trims,  44  examples  of  prize-winning 
show  cards,  84  drapes,  9  alphabets,  12  drawings  of  background  de- 
signs and  pictures  of  over  2,000  window  trimmers.  Bound  in  brown 
art  cover,  printed  in  two  colors,  with  nearly  100  pages  of  finest 
calendered  stock. 

Sent  to  anyone  anywhere  FREE 


Send   All   Orders  to   The  Dry  GdsJj  Reporter,  Cnicago 
468 


Miscellaneous  Store  Books 


Wax  Figure  Hand  Book 

A  book  giving  explicit  instructions  for  cleaning,  re-tinting  and  re- 
pairing wax  heads,  arms  and  hands.  This  art  has  long  been  kept  a 
secret.  The  work  itself  is  very  simple  and  can  be  easily  mastered  by 
aiiy  merchant  or  window  trimmer  without  difficulty  after  reading  the 
book.  The  different  stages  of  the  work  are  taken  up  consecutively 
and  all  the  formulas  used  by  professional  wax  workers  are  given. 
With  the  book  are  tent  all  necessary  tools,  brushes,  oils,  tints,  alcohol 
lamps,  etc.,  packed  in  a  case.    Price,  prepaid,  $5.00. 


The  Standard  American 

Drawing  and  Lettering  Book 

By  Peter  Idarius 

A  large  book,  size  10  inches  by  14  inches,  with  36  plates  of 
alphabets,  raised  letters,  etc.,  and  57  examples  of  monograms.  It 
treats  on  letter  shadmg,  aluminum  leaves  and  gilding,  color  harmony, 
cutting  in,  spacing,  layouts,  materials,  mixing  colors,  etc.,  etc.  Some 
of  the  alphabets  cover  several  pages  with  letters  three  inches  high. 
The  beginner  can  trace  right  over  these  letters.  Sent  prepaid.  Board 
cover,  $1.25.     Full  cloth  cover,  $1.75. 


mMM» 


iW^YIi)  M  3ni&S3?,\ 


The  New  Salesmanship 

and  How  to  Do  Business 

By  Chas.  Lingren 

This  is  a  series  of  lessons  on  the  subject  of  salesmanship,  bound  in  book 
form.  Consists  of  four  courses  in  one  volume — one  for  the  retail  salesman; 
one  for  the  traveling  salesman;  one  for  selling  by  correspondence;  and  one 
on  buying.  Sent  prepaid.  Cloth  bound,  $1.00.  Half  morocco  bind- 
ing, $1.50. 

Influencing  Men  in  Business 
By  Walter  Dill  Scott 

This  book  shows  how  you  can  increase  your  ability  to  influence  men 
by  mastering  a  few  simple  laws  for  influencing  their  minds.  It  describes 
these  laws,  explains  how  they  work,  and  shows  how  you  can  follow  them 
in  making  sales,  closing  deals,  writing  advertisements,  hiring  and  handling 
employees.     Rich  cloth  binding.     Sent  prepaid  for  $1.00. 


RADFORD^S 
STORES  £  FLAT 
BUILDINGS 


Radford's  Stores  and  Flat 
1  Buildings 

This  book  shows  perspective  drawings  of  store  build- 
ings and  plans  for  all  floors.  It  shows  combination 
buildings  having  first  floor  for  store  and  upper  floors  for 
flats  or  lodge  halls.  The  only  book  of  its  kind,  and  in- 
valuable to  a  merchant  who  contemplates  building. 
Bound  in  cloth.     Sent  prepaid  for  $1.00. 

The  Art  of  Retail  Selling 

By  Diana  Hirschler 

1        This  is  the  most  important   work   on  this  subject  yet 

published.     Used   as   a    text   book    in    schools   and  in 

•■     classes  conducted  in  retail  stores.     Written  by  a  person 

I  who  has  devoted  hei  entire  lifetime  to  teaching  retail 
selling.     Bound  in  cloth.     Sent  prepaid  for  $1.00. 


i 


yw> 


NO  BOOKS  SENT  ON 
APPROVAL 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

469 


Encyclopedia  of  Merchandising 

The  most  comprehensive  work  ever  attempted  in 
an  endeavor  to  bring  real  help  to  the  merchant 

M 


ODERN  MERCHANDISING 
is  the  name  given  to  the  set 
of  books  illustrated  herewith. 
It   has    been   prepared 
sponse  to  a  demand  that  is  being  felt  more 

and    more    by    business    men    throughout 
America. 

The  time  has  passed  when  the  business 
man  can  survive  amid  the  keen  competition 
of  modern  business  methods  unless  he  is 
thoroughljr  acquainted  with  the  methods 
employed  by  other  merchants. 

In  spite  of  the  fact  that  there  are  scores 
of  b  oks  dealing  with  almost  every  other 
subject,  the  great  field  of  business,   in   its 
broader  sense,  has  been  prac- 
tically neglected. 

On  this  account,  Modern 
Merchandising  has  been  pre- 
pared. It  is  not  a  collection 
of  theoretical  essays  by  col- 
lege professors  or  skillful 
journalists  and  magazine 
writers.  It  is  the  work  of 
practical  men;  the  leaders  in 
the  business  world  today. 

It  treats  of  every  subject  in 
the  realm  of  modern  busi- 
ness, covering  this  wide  range 
in  every  phase.  Every  article 
is  by  an  expert.  A  real  business  man— in 
nearly  every  case  the  acknowledged  au- 
thority on  the  suljject — has  given  to  Mod- 
ern Merchandising  the  cream  of  ideas 
gain  d  by  long  practical  experience  in  that 
branch  of  business  or  industry  with  which 
he  is  most  familiar.  The  salaries  earned 
by  the  300  experts  who  have  prepared  this 
work,  aggregate  $4,000,000  annually.  All 
of  the  '  ieh  salaried  experts  have  con- 
tributed freely  from  their  store  of  practi- 
cal knowledge  for  the  b  nefit  of  their  fel- 
low business  men. 

Classified  carefully,  the  knowledge  is  in- 
stantly accessible  f  r  the  merchant. 

All  professions  have  long  had  their  text 
and  reference  books : 

The  lawyer  has  had  his  law  library. 

Tn;  physician  his  medical  library. 

The  electrician  his  library. 

The  civil  engineer  1  is  lil)rarv,  and  now 
for  the  first  time,  the  merchant,  in  the 
broadest  meaning  of  that  designation,  has 


This  illustrates  clearly  how  large  the  volumes 
are.  The  book  is  opened  up  in  the  chapter  tliat 
deals  with  the  shipping  of  merchandise  and 
shows  one  of  the  forms  used  as  a  bill  of  lading. 

in  Modern  Merchandising,  his  library  ;  com- 
plete; authoritative;  instructive  and  ab- 
solutely indispensable  to  merchants,  clerks, 
buyers,  s-lesmcn,  advertising  men,  credit 
mer,  and  window  drtssers.  It  is  the  last 
word  of  those  who  know,  of  those  who 
have  by  practice  gained  the  knowledge  and 
experience  and  who  have  made  the  recog- 
nition of  their  success  compelling. 

The  men  who  have  made  a  great  suc- 
cess of  their  own  lines,  tell  in  Modern 
Merchandising  how  they  did  it.  This  is 
the  only  set  of  merchants'  text  books  ever 
published. 

C)ne  idea  gained  from  Modern  Merchan- 
dising by  any  merchant  in  America,  is  well 
worth  the  price  of  it. 

It  is  composed  of  tliousands  of  ideas 
from  men  whose  earnings  aggregate  an- 
nually millions  of  dollars. 


470 


shows    the    complete    stt    l  f    !• 
complete  set  of  text  book: 


ulumes    of   Modern    Merchandising.      The    only 
.r  published   for  the  retail  merchant. 


Here    are    a    few    of    the 

special     chapters: 

— Authorities  on  business 
organization. 

— Big  businesses  are  built 
by    new    ideas. 

— How  to  secure  capital  to 
back    ideas. 

— The  power  in  the  depart- 
ment store  that  makes 
for    success. 

— Authorities  on  How  to 
Buy. 

— Advice  by  managers  of 
greatest  department 
stores. 

— Experienced  buyers  tell 
others    how. 

— How  to  estimate  prob 
able   sales. 

— How  to  tell  whether 
goods   will  retain  color. 

— How  to  judge  the  value 
of   furs. 

— How  to  judge  wall  pa- 
per. 

— Authorities  on  manufac- 
tures   and    products. 

— Authorities  on  how  goods 
are    manufactured. 

— Experts  on  various  proc- 
essess. 

— Experienced  chemists 
give    advice. 

— Neted  autho  r  i  t  i  e  s  on 
products. 

— Recipes  for  cleaning  all 
kinds    of    goods. 

— Recipes  for  tanning  all 
kinds    of    goods. 

— How  industry  has  been 
transformed. 

— Recipes  for  all  kinds  of 
proprietary    preparations. 

— Authorities  on  How  to 
Sell. 

■ — Arguments  to  use  in  sell- 
ing  to    cutomers. 

• — -Getting  "next"  to  cus- 
tomers   by   mail. 

— Noted  autho  r  i  t  i  e  s  on 
credit. 

— Advice  by  bankers  and 
other    financial    experts. 

— Suggestions  from  ex- 
perience    of    experts. 

— Valuable  hints  by  men 
who    know. 

— How  to  keep  a  line  on  a 
customer's    credit. 


This  set  of  books  comes  complete 
in  ten  large  volumes  bound  in  half 
leather.  The  back  and  corners  are  in 
maroon  leather  with  gold  stamping, 
and  sides  are  in  handsome  green  de 
luxe  cloth. 

It  is  interesting  to  know  that  this 
set  of  books  was  gotten  out  for  one 
of  the  large  publishing  houses  in  Chi- 
cago with  the  intention  of  selling  it 
at  $40.00  per  set. 

Through  a  technicality  having  to  do 
with  the  printing,  they  would  not  ac- 
cept them  from  the  printer,  and  this 
printer  will  be  glad  to  sell  these  sets 
to  any  merchant  at  actual  cost  of 
$15.00  per  set. 

The  Reporter  believes  that  any  am- 
bitious merchant  or  clerk  will  find 
this  the  biggest  book  bargain  ever 
offered  to  him.  Anyone  of  the  vol- 
umes is  worth  $5.00  apiece,  merely 
from  the  standpoint  of  being  a  beau- 
tifully bound  book. 

The  only  way  these  books  can  be 
had  at  this  price  is  to  pay  the  printer 
cash  for  them,  as  of  course  he  cannot 
afford  to  do  book-keeping  and  make 
collections  when  disposing  of  them  in 
this  way. 

If  you  desire  more  information 
about  these  books,  we  will  gladly  send 
you  same  including  list  of  the  251  men 
who  contributed  to  this  valuable  work. 
Including  Joseph  Basch,  John  Wana- 
maker,  etc.,  etc. 

If  you  want  a  set  of  these  books, 
send  your  order  and  money  to  the 
Book  Department  of  the  Dry  Goods 
Reporter  and  they  will  buy  them_  for 
you  and  have  them  sent  out  by  freight. 

Complete  Set  (voTumes)  $15.00 


— Form  letters  that  make 
people    pay    their    debts. 

- — Noted  authorities  on  ac- 
counting. 

— How   to   audit   a  business. 

— Model  sets  of  transac- 
tions illustrating  prin- 
ciples   of    book-keeping. 

— The  steps  in  the  audit 
of    commercial     accounts. 

— Noted  authorities  on  ad- 
vertising. 

— Every  field  of  advertis- 
ing   covered    by    experts. 

— Advice  by  advertising 
specialists. 

— Money-making  ideas  by 
advertising    geniuses. 

— How  to  prepare  business- 
getting    letters. 

— How  to  prepare  adver- 
tising   matter. 

— How  to  prepare  adver- 
tising   booklets. 

— How  to  make  show  win- 
dows   draw   customers. 

— How  to  secure  and  re- 
tain   the    farmer's    trade. 

— Valuable  poi  n  t  e  r  s  on 
preparing  adver  t  i  s  i  n  g 
copy. 

— The  best  pulling  slogans 
and    catch    lines. 

— Illustrations  of  well-bal- 
anced   "ads." 

— Noted  author  i  t  i  e  s  on 
business  law  and  legal 
forms. 

— How  to  prepare  legal 
documents. 

— The  laws  of  every  state 
governing  the  collection 
of    debts. 

■ — Index  to  the  comp'.ete 
work  and  cyclopedia  of 
everything  relating  to 
merchandising. 

— Ready  reference  to  this 
great  store  house  of 
business    knowledge. 

— The  index  makes  every 
fact    quickly    accessible. 

— Tens  of  thousands  of 
valuable  facts  for  the 
merchant. 

— Encyclopedia  of  informa- 
tion with  an  index  ref- 
erence. 

— References  to  every  line 
of    merchandising. 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

471 


Know  How  Your  Goods  are  Made 

Every  merchant,  advertising  man  and  clerk  should    know  how   the   various 
fabrics  sold  in  the  store  are  made. 

—  It  makes  it  possible  for  the  merchant  to  buy  his  goods  more  advantageously 

—  it  makes  it  possible  for  the  advertising  man  to  -write  about  the  goods  knowingly 

—  and  makes  it  possible  for  the  clerk  to  make  more  sales  because  the  customer  re- 
cognizes that  the  clerk  knows  what  he  is  talking  about. 

Here  is  a  list  of  the  books — they  can  be  bought  separately  or  in  the  complete  set. 

WOOLEN  AND  WORSTED  FINISHING.  By  John  F.  Tinimermann,  Textile  Expert  and  Writer. 
Formerly  with  the  Contral  Woolen  Co.,  Stafford  Springs,  Conn.,  320  pp.,  110  illus.  Half 
Morocco  binding.  A  practical  working  handbook  for  the  textile  operative.  Price, 
prepaid     $3.00 

TEXTILE  CHEMISTRY  AND  DYEING.  By  Louis  A.  Olney,  Head  of  Department  of  Textile 
Chemistry  and  Dyeing,  Lowell  Textile  School.  376  pp.,  100  illus.  Half  Morocco  binding. 
Complete  scientific  and  practical  instruction  in  the  dilticult  art  of  textile  coloring,  and  allied 
processes    of   troatm^nt.      Price,    prepaid $3.00 

WOOLEN  AND  WORSTED  SPINNING.  By  Miles  Collins,  Superintendent  of  Abbot  Worsted 
Company,  Graniteville,  Mass.  352  pp.,  200  illus.  Half  Morocco  binding.  A  comprehensive 
reference  work  and   practical  working  guide.     Price,   prepaid $3.00 

TEXTILE  DESIGN.  By  Fenwick  I'mpleby,  Head  of  Department  of  Textile  Design,  Lowell 
Textile  School.  368  pp.,  350  illus.,  guide  to  the  art  of  designing  all  kinds  of  textile  fabrics. 
The  practical  application  of  the  principles  of  textile  coloring  are  shown,  and  systematic 
and   business-like   methods  of  cost   finding  are   described.      Price,    prepaid $3.00 

COTTON  SPINNING.  By  Charles  C.  Hedriok,  Mechanical  Engineer,  Lowell  Machine  Shop. 
368  pp.,  260  illus.  Half  Morocco  binding.  A  practical  treatise  on  the  manufacture  of 
cotton    yarn.      Price,    prepaid    $3.00 

KNITTING.  By  M.  A.  Metcalf.  Managing  Editor  of  The  Textile  American.  408  pp..  230  illus. 
Half  Morocco  binding.  A  thoroughly  complete  handbook  of  practical  Information  covering 
every  detail  of  this  Important  and  rapidly  developing  branch  of  the  modern  textile  In- 
dustry.     Price    $3.00 

WEAVING.  By  IL  William  Nelson.  Superintendent,  Ncuse  River  Mills,  North  Carolina:  For- 
merly Head,  Department  of  Warp  Preparation  and  Weaving,  Lowell  Textile  School.  352 
pp.,  229  illus.  Half  Morocco  bindincr.  A  comprehensive  and  authoritative  practical  treat- 
ment  of   the   broad   sub.icct   of   WL-aving.      Price,    prepaid $3.00 

COMPLETE  SET  of  SEVEN  VOLUMES-bound^in  -'^^ -m  bindin^^^^^^^^^^^        "^l  «'oO 

for  the  store,  on  the  subject  of  "How  Goods  are  Made."    Price  prepaid ^>AO.  Vv 

Money  must  accompany  all  book  orders 
Send  order  to  Book   I),  partmen.    J^Ry    GOODS    REPORTER,   ChlCagO,    111. 


Send  All  Orders  to   The  Dry  Goods  Reporter.  Chicago 

472 


Letters   That  Make  Good 

Its    leading   features    are: 

Seven  chapters  on  the  logical  divisions  of  letter  writing  based  on 
scientiflc  analj'sis.  These  chapters  were  written  by  advertising  men  who 
are    Icnown    throughout    the    country    as    leaders. 

Three  hundred  and  six  letters  are  reproduced  in  full.  All  of  these 
letters  have  been  u.sed  by  business  houses,  many  of  them  the  largest  of 
their  kind  in  America.  Every  letter  has  been  an  extraordinary  result- 
producer   by   actual    record. 

Notes  and  comments  on  each  of  these  letters  by  advertising  managers 
or   business   men    who    have    used    them. 

Three  hundred  and  six  letter-headings  set  especially  for  this  work. 
In  the.se  headings  are  shown  faces  of  type,  suited  to  the  printing  of 
letter-headings,    from  every  ype   founder  in   the  United   States. 

This  is  a  large  book,  11x9  inches,  and  over  two  inches  thick;  consists 
of  500  pages,  306  actual  letters  printed  in  colors,  50  page  notes.  Sent, 
postage   prepaid,    for   $5.00. 


BELOlNfr.  MICMIOAN 


Business  Building  Ads. 


Here  is  a  book  that  is  in 
reality  a  collection  of  advertise- 
ments ready  to  send  over  to 
your  printer  and  be  set  up.  Only 
one  of  each  book  is  sold  in  any 
town  or  city,  and  that  one  is 
sent  to  the  dealer  who  sends  his 
order  first.  Each  book  contains 
nearly  200  advertisements  set  up 
in  an  attractive  form.  You  can 
cut  out  the  ad  you  wish  to  use. 
insert  your  prices  in  the  space 
left  for  that  purpose,  and  send  it 
to  the  printer.  Sent  post  paid  for 
$5.00. 


Analytical  Advertising 

A  book  on  advertising  that 
tells  in  a  clear  way  the  rela- 
tion between  advertising  and 
psychology — tells  of  actual  ad- 
vertising experience  and  tests. 
A  portion  of  the  book  takes 
up  the  relative  merits  of  size 
of  space.  Attractively  bound 
in  cloth.  Postage  prepaid, 
$3.00. 


100  Window  Trims 

A  book  for  the  small  store. 
Good  for  the  merchant  who 
cannot  afford  a  window  trim- 
mer. Full  of  simple  and  eas- 
ily carried  out  window  trims. 
Fine  for  a  grocery  store.  224 
pages,  104  illustrations,  bound 
in  red  cloth.  Postage  prepaid, 
$1.00. 


The    Story    of    Textiles 


Though  a  complete  history  of  the  indu.stry  has  not  been  the 
aim  of  the  writer  nor  the  desire  of  the  publisher,  the  purpose  has 
been  to  present  to  those  interested  in  the  textile  industry  a  bird's- 
eye  view  of  the  leading  facts  which  have  marked  the  progress  of 
the  industry  up  to  the  firm  establishment  of  the  manufacture  of 
textiles  on  American  soil.  The  writer  hopes  that  the  man  in- 
terested in  the  textile  business,  whether  he  be  a  manufacturer 
or  a  clerk  behind  the  counter,  may  obtain  from  these  pages  a 
clear  view  of  the  development  of  America's  leading  industry,  with- 
out having  to  give  the  subject  the  time  that  a  fuller  narrative 
would  require.  This  book  is  printed  on  deckel  edge,  water-marked 
paper,  with  gold  top.  Illustrations  are  in  sepia  on  super-calen- 
dered stock.  The  book  is  bound  in  heavy  art  buckram,  with  blue 
and  gold  leather  title.  This  is  one  of  the  finest  store  books  pub- 
lished.     Sent,    post    paid,    $3.25. 

No  Books  Sent  on  Approval 

Send 'All  Orders   to   The  Dry  Goods  Reporter,  Chicago 

473 


This  Book 

Will  Help  Trim 

Your  Show  Windows 

**Show  Window  Backgrounds'' 

By  GEO.  J.  COWAN 

Vice-President  of  the   Koester  School   of   Window 

Trimming  and  Editor  of  "Window  Trimming 

Monthly"  of  the  Reporter 

This  is  the  most  useful  window  trimming 
book  ever  published  and  sells  at  only  $1.50,  a 
price  that  makes  it  possible  for  every  window 
trimmer  and  merchant  to  possess  it. 

Every  background  design  is  drawn  in  such  a 
way  that  anyone  can  follow  out  the  idea  the  same 
as  a  carpenter  does  his  work  from  blue  prints. 
Every  detail  is  fully  illustrated  and  fully  described 
with  complete  text  matter. 

Thefirsthalf  ofthe  book  has  the  windows  arranged 
in  the  order  in  which  they  should  be  installed,  thus 
being  a  yearly  window  trimming  program. 

The  following  partial  list  of  contents  will  give 
you  a  clear  idea  of  what  a  valuable  book  this  is: 

3  Hallowe'en  Windows. 
5  Thankftivlng  Windows. 
14  Christmas  Windows. 
16  Period  Decorations  in  back- 
grounds, sbowine  examples 
of 
2  St.  Patrick's  Day  Windows.  Greei,  Moorish, 

8  Spring  Opening  Windows.  Rtman.  Italian, 

12  Ka-tei  Windows.  Gothic,  French, 

6  Decoration  Day  Windows.  German,         Emfire, 
5   Fourth  of  July  Windows.                     Jifantu,         Colonial. 

7  Summer  Windows.  Eiyptijn,         Minion,  etc. 
2  Horse  Show  Windows. 

16  Fall  Opening  Windows. 
2  Carnival  WitKiows. 
and  a  great  variety  of  general  and  jpecial  backgrounds,  making  up  a  total  of  ove» 

6U  background  desi.ns.  with  a  great  number  of  small  detail  drawings.     Many  < 
Che  drawings  are  in  culots. 

It  has  taken  over  ten  years'  continuous  work  to  make  the 
drawings  in  this  book  and  over  25  years'  experience  in  every 
pha.se  of  window  trimming  to  equip  tiie  editor  with  the  p-actical 
knowledge  necessary  to  prepare  a  volume  of  this  kind. 

This  book  is  7  X  10  inches  in  size,  strongly  bound  in 
de  luxe  silk  cover  with  handsome  art  desisn.  Over 
250  puKes  and  ubout  200illustrations.  Sent  prepaid 
only  on  receipt  of  $1.50. 


2  New  Year's  Windows. 
8  White  Goods  Windows. 

1  Lincoln's  Birthday  Window. 
4  St  Valentine's  Day  Windows. 

2  W.-ishington's  Birthday  Win- 


10  Sale  Windows. 
2  Bas  Relief  Backgrounds. 
2  Stencil  Backgrounds. 


Send  All  Orders  to    The  Dry  Goods  Reporter,  Chicago 

474 


KOESTERSOI^LBODKOF        J^^   ^^^^   Uscful   BOOR 

DRAPING    Ever  Published  for  the 

Window  Trimmer 


Geo.  J.  Cowan  a/^  Will  H.  Bates 


Every  window  trimmer,  and  many  mer- 
chants, find  that  they  need  help  in  displaying 
all  kinds  of  fabrics.     Every  trimmer  has  a  few 
drapes  that  he  uses,  but  after  these  are  used,  i 
he  needs  others. 

This  book  gives  him  over  a  thousand  drapes.  Most 
of  them  are  such  that  anyone  can  follow  out  the  in- 
structions. 

—  hundreds  of  completely  laid  out  fabric  windows. 
■ — •  many  examples  of  early  draping. 

—  examples  of  draping  from  all  foreign  countries. 

—  draping  for  tailors. 

—  draping  of  draperies. 

—  draping  of  narrow  goods,  trimmings,  etc. 


Draping  is  the  Most  Important  Branch  of  Window  Trimming 

and  to  be  expert  in  draping,  it  is  necessary  to  make  a  study  of  it  all  the  time,  in  order  to  keep  in  touch 
with  changing  styles,  fabrics,  etc. 

This  book  is  in  reality  a  History  of  Draping  and  will  bring  to  you  practically  all  drapmg 
information  known  up  to  the  present  time. 

This  book  was  made  possible  by 
combining  all  the  cuts  and  articles 
on  draping  that  have  appeared  in 
the  Merchants'  Record  and  Show 
Window,  the  Window  Trimming 
Monthly  ofthe  Dry  Goods  Reporter, 
the  book  "The  Koester  System  of 
Draping,"  and  all  the  new  drapes 
made  by  the  Koester  School  since 
the  publication  of  the  above-men- 
tioned book. 

Over  SOO  pages,  printed  on  finest 
calendered  stock,  with  over  1,000 
illustrations,  bound  in  handsome 
de  luxe  cloth.     , 

Sent  postpaid  for 


$3.00 


Showing  Window  layout  and  Completely  Draped  Window 


Showing  Various  Steps  in  a  Lesson  on  Draping 


Where  books  are  shipped  to 
foreign  countries,  we  ask  that 
you  send   additional  postage. 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

475 


Books  for  the  Window  Trimmer 


The  most  complete  work  of  the  kind  ever  pub 
Wished.  Over  400  pages,  600  illustrations 
Covers,  to  the  smallest  detail,  the  following  sub 
jects:  Wind  w  Trimming,  Interior  Decorating 
Window  Advertising,  Mechanical  and  Elec 
trial  Effects,  in  fact  everything  of  interest  to  the 
modern,  up-to-date  merchant  and  decorator. 
Price,  postpaid,  $3  50. 


The 

Art  of 
Decorating 
SKow 
Windows 

and 

Interiors 


The  first 
book  that 


every 


indc 


should  get 


Drapery,  Interior 
Decoration  and 
Architecture 
BuA.  C  Morrhon 
A  practical  handbook 
for  dealer,  decorator  and 
workroom.  Mo  book  ever 
published  at  any  price 
gives  so  much  practical 
k  nowledge  of  drapery  and 
decorative  work.  Mr. 
Morrison  has  spent  his 
entire  life  in  accumulatiiig 
the  information  given  in 
this  bo"k  and  the  profuse 
illustrations  from  hisdraw- 
ing;  and  from  photographs 
add  to  the  val  e  of  the 
work.  Size  9  X  1 2  inches; 
245  illus'rations;  cloth- 
bound,  lettered  in  gold. 
Pos.paiJ,  S2.00. 


Hardware   Window 
Dressing 

ii  a  copyrighted  book,  8x11 
inches  in  size,  prijted  on  specially 
made  high-grade  white  paper  and 
substantially  bound  in  attractive 
cloth  cover.  This  is  the  first  book 
ever  written  devoted  exclufively 
to  Hardware  Display.  There 
are  256  pages  and  over  200 
illustrations  with  full  working  de- 
scriptions. Every  display  the 
work  of  an  expert  in  this  line. 
Price,  postpaid,  $2.50. 


Color  Value 

Complete  treatise  on  color 
contrasts  and  harmony. 
Drawings,  color-plates  and 
diagrams  illustrate  all  the 
principles  of  the  subject.  In- 
valuable for  window  trim- 
mer, card-writer  or  salesman, 
who  can  make  use  of  a 
knowledge  of  color  harmony 
and  contrast.  Price,  post- 
paid, $1.00. 

Se 


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^                 *"    ,--.M 

HOW  TO  DRESS       '--^ 

A  SHOE  STORE      • 

-imiXf^/. 

• $— ^       ,:,- 

The  French  DecorativeStyles 

from  the  earliest  times  to  the  present 
day.  No  other  book  so  f.  !!y  ex- 
plains what  everyone  should  know 
about  the  Frencfi  decorative  styles 
that  are  now  so  popular  in  this 
country.  The  illustrations  are  ex- 
cellent and  the  reading  ma"er  is 
bright  and  interesting.  Size,  9  xl2 
inches;  fully  illustrated;  clo'.S- 
bound.     Post.oaid,  $2.00. 


How  to  Dress  a  Shoe 
Store  Window 

New  edition,  224  pages.  7*x9.h 
bound  in  heavy  red  cloth.  Also  tolls 
about  show  cards,  street  fairs,  etc. 
Over  100  illustrations,  printed  oa 
coaled  paper.     Postpaid,  $1.25. 

Window  Display  Manual  for  Hardware  Stores 

This  new  window-trimming  book,  just  off  the  press,  is  designetl  to 
serve  the  retail  hardware  mercliant  in  an  advisory  capacity  in  designing 
and  executing  show  window  displays  that  will  sell  gowls.  Bound  in 
•ed  cloth  and  contains  nearly  300  pages.     Sent  postpaid,  $3.50. 


Street  Fair  Manual 

A  practical  book,  profusely 
illustrated.  Streei  Fairs.  Carni- 
vals, Floats,  Booths— all  about 
them.  Exr>erl,  practical  infor- 
mation. Only  book  of  the  kind 
published.  Sent  prepaid  to  any 
ndclrccsupon  receipt  "i  $1.2^ 


nd  All  Orders  to  The  Dry  Goods  Reporter,  Chicagc 

476 


Books  for  the  Window  Trimmer 


The  Upholstery  and  Drapery  Guide 

A  book  designed  for  the  upholstery  and 
drapery  department,  and  also  of  value  to 
the  window  trimmer.  Treats  on  drap- 
ings,  decorations  and  interior  furnishings, 
"period"  styles,  law  of  harmony,  color 
schemes,  etc.,  etc.  222  pages,  hundreds 
of  illustrations.     Price,  postpaid,  $2.00. 


Cutting  and  Draping 

This  book  is  for  the  upholstery  and  drapery  depart" 
ment  and  window  tiimmer.  Over  250  illuslralior.s  of 
popular  drapery  styles.  Also  chapters  on  festival 
decorations  dealing  with  outdoor  decorations.  Price, 
postpaid,  $2.00. 


The  Human  Figure 

Invaluable  to  the  window  trimmer, 
garment  buyer,  card-writer  and  all  those 
who  must  know  about  correct  proportions 
and  measurement  of  the  human  figure. 
Printed  on  finest  calleiideredslock  and  con- 
tains over  500  illustrations,  some  in  colors. 
It  is  bound  in  rich  terra-colta  cloth,  contains 
nearly  200  pages  and  sells  for  $2.00. 


FAIRCNILD'S 

MODERN  WINDOW 
TRIMS 


For  the 

MEN'S  WEAR  TRADES 


Also   Store    Interiors  and 
Exteriors 


The  Principles  of  Design 

Bu  E.  A.  BatchMet 
Of  particular  interest  to  the  window  trimmer 
who  is  enough  of  a  student  to  realize  the 
importance  of  using  correctly  designed  back- 
grounds and  of  arranging  goods  in  the  window 
to  meet  the  demands  of  good  composition. 
Bound  in  a  rich  blue  cloth,  with  gold  lettering. 
The  text  and  illustrations  are  printed  on  India 
tint  stock  in  colors,  there  being  nearly  300 
illustrations.     Postpaid,  $3.00. 


Modern   Window  Trimmer  for 
the  Men's  Wear  Trades 


Your  Home  and  Its 
Decoration 


This  book  is  the  most  complete  compilation         A  very  beautiful  book,  devoted  to  the  use  of 

of    information    on  window  trimming  for  the  all  kinds  of  paints,  finishes,  varnishes,  etc.    The 

men's  wear  trade  and  should  be  in  the  hands  use  of  woods  in  decoration,  color  combinations, 

of  every  window  trimmer  and  merchant.    The  decorative   materials,   etc.     A   very   practical 

book  is  large,  measuring  10x13  inches,  con-  book  for  the  window  trimmer  or  for  the  salci- 

tains  over  200  pages  and   about  500  illuslra-  man  in  the  upholstery  department.     Bound  in 

tions.     It  is  bound  in  dark   blue   cloth,  with  boards  and  printed  on  the  finest  stock;    gold 

silver  lettering.     The  price  is  $2.00.  lettering.     Sent  postpaid,  $2.1. S. 


Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

477 


Books  for  the  Card  Writer 


ABCDEFG 
HiJKLMNi 
OPQRSTII 

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iIninopqrsl.y] 

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112345678911 


Compendium  on  How  to  Use  tlie  Automatic  Pen 

60  plates  of  alphabets.  20  display  cards,  20  comer  pieces,  60 
border  designs,  aUo  molloes,  scrolls,  etc  etc.  Many  pages  in  tull 
color,  size  8x11  inches.     Sent  postpaid  for  $1.00. 


Card  Writer's  Chart 

A  complete  course  in  the  art  of  making  display  and  price  cards  and 
signs.  Beautifully  printed  in  six  colors  and  bronze.  Includes  specially 
ruled  practice  paper.  Someof  the  subjects  treated  are:  First  Practice, 
Punctuation,  Composition,  Price  Cards,  Directory  Cards,  Spacing, 
Color  Comimations,  Mixing  Colors,  Ornamentations,  Materials 
Needed,  etc.     bent  postpaid  for  $1 .50. 


.    .-^.  Jcardlliriter-^ 


Faust's  Complete  Card  Writer 

A  complete  course  in  the  study  of  card  writing.  Treats  on  llie  use 
of  every  known  medium.  163  examples  of  show  cards,  over  100 
alphabets.  This  is  the  newest  book  out  and,  at  the  pnce,  the  brat 
book  we  have.     Postpaid,  paper  covor,  $1.25;  cloth  cover,  $1.75. 


^.A  i^3iUS>J£3 


Ideas  on  Air  Brush  Lettering 

A  SO-page  book,  8x10  inches,  on  hi 
•bowing  a  complete  »ct  of  the  most  cxfjuisite  a 
ever  assembled.  Printed 


enameled  paper, 
sh  designs 


9t>^a'k>»j-iA 


The  Art  of  Sign  Painting 

This  book  embraces  a  series  of  instructions  written  and  illustrated  in 
a  practical  manner,  wliich  will  enable  anyone  to  acquire  a  thorough 
working  knowledge  of  the  art  of  sign  painting.  It  contains  le-son 
sheets,  review  questions,  etc.  96  designs  in  complete  composition, 
with  color  note  (or  each.  160  pages  of  text  matter  and  25  alphabeU. 
Large  quarto;  332  pages;  cloth  binding,  with  special  decorated  cover 
design  in  four  colors.     Postpaid,  $3.00. 


50  Lessons  on  Show 
Card  Writing 

The  lesson  plates  are  printed 
on  card-board  and  fitted  into  the 
book  loose  leaf.  This  system 
has  the  advantage  of  enabling 
the  student  in  practice  to  work 
without  a  cumbersome  book  at 
his  elbows.  Besides  the  50 
lesson  plates,  this  book  contains 
over  seventy  instructive  illustra- 
tions and  over  three  hundred 
reproductions  of  show  cards, 
cxeculixl  by  the  leading  show 
card  artists  of  America.  Bound 
in  green  cloth.  Sent 
for  $2.50. 


olors.  Sent  postp^i'"  'or  $1.00. 

Send  All  Orders  to   The  Dry  Goods  Reporter,  Chicago 

478 


Books  for  the  Card  Writer 


Mm  €  i 


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Fairchild's  Rapid  Letterer 

It  treats  several  subjects  that  are  not  found  in  the  usual  card-wriling 
book.  One  of  these  is  that  of  lettering  for  newspaper  headings. 
Another  chapter  explains  half-tone  engraving  and  how  cuts  are  made. 
A  greatvariety  of  show  card  examples  are  shown.  There  are321es- 
sons  on  lettering  in  this  book,  including  pen  and  brush  work,  scrolls  and 
flourishes.  The  chapters  on  color  harmony  and  air-brush  work  are  very 
interesting.  The  book  has  one  hundred  pages,  is  cloth-bound  and  is 
10x13  inches  in  size     Sent  postpaid  an  receipt  of  price,  $2.00. 

^  Modern  Show  Card  Let- 
tering   Designs,    Etc., 
with  2,000  Show  Card 
Phrases 

book  is  a  complete, 
clical  treatise  on  Pen  and 
Brush  Lettering.  Over  I  50 
illustrations  of  show  cards, 
besides  the  long  list  of  alpha- 
and  the  2,000  show 
card  phrases.  Size  of  honk, 
6x9.  Price,  postpaid,  $  I  Ou. 


Cash  must 
accompany 
all  orders 
for  books. 
Books  are 
sen. 
prepaid. 


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DRAWN  TO  KlEP 
LETTERS  UPRIGHT 


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Letters  and  Letter  Constructio.i 

By  T.  J.   Trezise 

One  of  the  best  bcoks  on  lettering  that  we  know  of,  having  a  great 
deal  of  matter  not  contained  in  other  books.  160  pages,  bound  in 
strong  cloth,  best  stock.     Postpaid,  $2.00. 


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The  Art  of  Show  Card 
Writing 

Size  9x6  inches,  209  pages,  256 
illustrations,  94  being  full-page  half- 
tones, 32  alphabet  plates.  Fully 
explains  and  illustrates  latest  and  best 
methods  used  by  all  card  writers. 
Nicely  bound  in  art  linen  on  heavy 
beards.     Sent  postpaid  for  $2.50. 


The  Sigoisl's  Modern  Book  of  Alphabets 


Strong's  Book  of  Designs 

For  the  Card  Writer.  Over  300  designs.  200  Collected  and  engraved  by  T.  Delamotte. 

of  them  m  colors.     Most  elaborale  book  of  its  It  is  a  book  of  208  pages  with    100  designs, 

kmd  ever  publ^hed  (the  cuts  used  i.i  ihe  book  It  contains  plain  and  ornamental,  ancient  and 

cost   over    $4,000).     Size   8.1  x  lO-i    mches,  mediaeval   alphabets,  from   the  eighth  to  the 

leatherette    brnding.  eolj   iraorint.     P-stpaid,  twentieth  century,  with 

$3.50.                                            S  paid.  $1.50. 


David's  Practical  Letterer 


One  of  the  most  practical  card-writing  books 
leials,  etc.     Post-    *^^''  Puhlished.    Very  complete.     Bound  in 
full  red  cloth.     Sent  postpaid  for  $1.00. 


Send  AH  Orders  to   The  Dry  Goods  Reporter,  Chicago 

479 


Books  for  the  Window  Trimmer  and  Card  Writer 


How  to  Draw  and  Paint 

Every  window  trimmer 
should  know  something  about 
drawing  so  that  he  can  draw 
up  his  window  plans  and  de- 
signs, and  paint  many  of  the 
decorations  in  the  windows 
themselves.  Complete  infor- 
m  a  t  i  o  n  on  all  subjects. 
Strongly  bound  in  boards; 
over  150  pages  and  lOo  illus- 
trations.    Sent  postpaid,  50c. 


Book  of  Designs  and  Alphabets 

Contains  examples  of  show 
cards,  covering  the  entire  page 
of  the  book.  These  sign  lay- 
outs, with  all  kinds  of  fancy 
panels,  scrolls  and  designs 
show  the  card  writer  just 
how  to  get  out  this  type  of 
card  for  his  more  elaborate 
efforts. 

Also  contains  a  very  good 
assortment  of  alphabets.  XOx 
6%  inches  in  size,  paper 
cover.      Price  postpaid,   75c. 


Book  on  Scenic  Painting 

Written  by  Mr.  F.  Lloyd, 
one  of  the  foremost  painters 
in  distemper  in  England.  He 
has  only  recently  had  the 
book  introduced  into  this 
country,  and  Just  at  an  op- 
portune time,  because  it  will 
be  very  helpful  to  those  win- 
dow trimmers  who  want  to  do 
this   work    themselves. 

The  book  is  914x6%  inches 
in  size,  contains  100  pages, 
with  over  50  illustrations. 
Sent    postpaid,    $1.00. 


BOOKOTJimUBnS 

Painufs,  Sign  Mat  M%]mKn.  Ek 


Book  of  Alphabets 

A  large  collection  of  differ- 
ent styles  of  letters  at  a  very 
low   price. 

This  book  is  Interesting  to 
the  card  writer,  because  it 
shows  so  many  types  of  an- 
tique, foreign  and  novelty  al- 
phabets. These  will  serve  as 
a  basis  for  working  up  en- 
tirely    new    modern    alphabets. 

Tlie  book  is  9xG  inches  in 
size,  with  paper  cover.  Price, 
postpaid,    50o. 


Ti  I  rc  t;sE 


J|rti;t;  mi  l\rt  ^tudenU. 


Book  on  Colors 

Gives  the  mo.st  practical 
information  ue  have  yet  found 
on  the  use  of  colors,  how  to 
mix  them,  how  to  paint  over 
old  paint,  how  to  do  water- 
color  painting,  oil  painting, 
fresco,  rapid  sketching,  im- 
pasto.  scrumbling,  imitating 
surfaces,  methods  to  use, 
tools,  brushes,  work  room, 
etc.  The  book  is  well  worth 
the    small    price    of    25c. 


Scroll  Designs 


Scrolls  are  used  very  exten- 
sively in  all  designing.  They 
enter  into  every  phase  of 
window-trimming  work,  and 
in  the  decoration  of  show  cards. 
Therefore,  to  know  that  it  la 
now  possible  to  buy  a  book 
devoted  entirely  to  a  showing 
of  scrolls  will  be  good  news 
to  the  window  trimmer  and 
card    writer. 

Over  200  scroll  designs. 
Book  is  9x6%  inches  In  size, 
paper  cover.  Price,  postpaid, 
$1.00. 


System  of  Easy  Lettering 

AH  the  alphabets  in  this  book  are  drawn  on  cross-ruled 
dotted  lines  In  such  a  way  that  any  one  can  lay  out  their 
letters  according  to  the  small  squares.  This  system  will 
be  as  helpful  a  method  of  learning  how  to  letter  as  any- 
thing you  can  get.  Contains  a  full  assortment  of  the  most 
useful  alphabets.  Handsomely  bound  In  cloth.  Price,  post- 
paid,   55c. 


Send   All   Orders   to    The  Dry  Goods  Reporter,  Chicago 

•180 


SI 


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